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Abdulladzhan, or Dedicated to Steven Spielberg

1992-07-13 | Comedy / Science Fiction
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Considering that Musakov’s Abdulladzhan (1991) was dedicated to Steven Spielberg, we might suggest that these four boys embody nothing more complicated than a conflict of youthful innocence with some ominous threat—the basic workings of E.T. (1982) or War of the Worlds (2005), say. That threat, however, is best understood not through vague nationalism or warmed-over socialism, but through the other reference-point of Abdulladzhan—Tarkovskii’s Stalker (1980). Musakov leaves his boys in a simplified radiance so bright and so overexposed that it no longer looks like the skies of sunny Tashkent, but a disturbing, borderless luminosity to match the flat tonal range of Stalker’s “Zone.” Our Uzbek boys are nowhere in particular; this is a broader domain than anything international.

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6.9
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Positive 70%
Negative 30%

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On October 04, 2024, there were 493 public reaction to Abdulladzhan, or Dedicated to Steven Spielberg including Alien Invasion, with cockney accent, downward spiral, glistening, Black Comedy.
The runtime of Abdulladzhan, or Dedicated to Steven Spielberg is 89 minutes.
On October 04, 2024, the IMDB rating of Abdulladzhan, or Dedicated to Steven Spielberg is 6.9/10, Rotten Tomato rating is 0/100, Metacritic rating is 0/100, TMDB rating is 6.0/10.
The director of Abdulladzhan, or Dedicated to Steven Spielberg is Zulfikar Musakov.
The genre of Abdulladzhan, or Dedicated to Steven Spielberg is Comedy,Science Fiction.
The release date of Abdulladzhan, or Dedicated to Steven Spielberg is July 13, 1992.
Considering that Musakov’s Abdulladzhan (1991) was dedicated to Steven Spielberg, we might suggest that these four boys embody nothing more complicated than a conflict of youthful innocence with some ominous threat—the basic workings of E.T. (1982) or War of the Worlds (2005), say. That threat, however, is best understood not through vague nationalism or warmed-over socialism, but through the other reference-point of Abdulladzhan—Tarkovskii’s Stalker (1980). Musakov leaves his boys in a simplified radiance so bright and so overexposed that it no longer looks like the skies of sunny Tashkent, but a disturbing, borderless luminosity to match the flat tonal range of Stalker’s “Zone.” Our Uzbek boys are nowhere in particular; this is a broader domain than anything international..