Viewer Rating
Combines user and critic ratings from four sources
Action, Crime, Drama • 2013 • 99 min

A Russian police major kills a child in a hit-and-run and must choose between confession and cover-up. Director Yuriy Bykov uses that premise to dissect institutional corruption inside the Russian police state, where rank and loyalty consistently override law and conscience. The Leans Progressive label follows from the film's unsparing view of state power: authority figures collude, obstruct justice, and escalate harm to protect themselves. Family feeling is present, since both the perpetrator and the grieving parents are driven by love for their children, but that warmth only sharpens the moral collapse around it. The critique of systemic abuse is the dominant signal.
Denis Shvedov • Irina Nizina • Ilya Isaev
A Russian police major kills a child in a hit-and-run and must choose between confession and cover-up. Director Yuriy Bykov uses that premise to dissect institutional corruption inside the Russian police state, where rank and loyalty consistently override law and conscience. The Leans Progressive label follows from the film's unsparing view of state power: authority figures collude, obstruct justice, and escalate harm to protect themselves. Family feeling is present, since both the perpetrator and the grieving parents are driven by love for their children, but that warmth only sharpens the moral collapse around it. The critique of systemic abuse is the dominant signal.
Denis Shvedov • Irina Nizina • Ilya Isaev
The film's central thesis is an explicit and unsparing critique of systemic corruption and abuse of power within state institutions, demonstrating the complete breakdown of justice and morality.
The movie features a predominantly ethnically Russian cast, consistent with its setting and production. Its narrative primarily focuses on themes of corruption and moral decay within a specific societal context, rather than engaging with or critiquing traditional identities or explicit DEI themes.
The film centers on the tragic loss of a child and the desperate actions of both the grieving parents and the perpetrator, who is motivated by protecting his own pregnant wife. This narrative implicitly affirms the sanctity of children, the foundational nature of heterosexual marriage, and traditional roles in crisis, without celebrating them in an idealized manner.
The film 'The Major' does not feature any identifiable LGBTQ+ characters or themes. The narrative focuses on a police major's accidental killing of a child and the subsequent cover-up, exploring themes of corruption and moral decay within the Russian police force. Queer identity is not present in the story.
The film 'The Major' does not feature any identifiable transgender characters or themes. The narrative focuses on a police major's attempt to cover up a fatal accident, exploring themes of corruption and moral decay within the Russian justice system, without engaging with transgender identity or experiences.
The film does not feature any female characters in combat roles. The narrative primarily focuses on male characters involved in escalating conflicts, and no female character is depicted engaging in or winning physical fights against male opponents.
The Major is an original film with characters created specifically for this production. There is no prior source material, historical basis, or previous adaptation from which character genders could have been established and subsequently altered.
The film is an original story with no prior source material, historical figures, or previous adaptations. Consequently, no characters had a pre-established racial identity that could be altered for this production.
Not depicted in the film.
Combines user and critic ratings from four sources























