Despite this, he shows compassion to his adversaries, like sparing Belkin because of his son. The theme, that family members can be very different, is very much exploited in Viktor's character, who despite aiding them in Moscow, somewhat lets him down in Chicago. Dasha's character very much reflects the failure of many post-Soviet Russian Immigrants, whose 'American Dream' turned into a nightmare, again showing the Russian audience that emigration can, quite literally, force a talented person to literally walk the streets. Both Irina and Ilya illustrate that opportunities in Russia exist as well and success comes to those that strive for it. Belkin, unlike Krugly in the first film, is not wholly depicted as evil, but instead shows how money can corrupt a person into becoming evil. The subplot that Konstantin's murder was unintended, and moreover, he got his job in the bank because of Belkin's past friendship with Kostya's father drives that message. This again reflects the Russian reality how many people who rose in the 1990s had to turn on their friends and family. The poem that his son read in the school, Danila would recite throughout the film. Finally, Mennis is shown for what he is, being an influential businessman, up front, he is a nothing but a coward. The film was criticised for being too Russo-centric and in extreme cases the elements of racism and nationalism. For example, the semi-criminal portrayal of the African American community, the deceiving Russian-American Jew (who sells a bad car) and the Ukrainian mafia. The latter in particular often refers to the toilet scene when Viktor finishes off in cold blood remarking: "You bitches will answer to me for Sevastopol!" referring to the sensitive topic on the ownership of that city. Ukrainians are also called banderovets by Viktor (e.g. when he arrives at the airport), what does not appear in English subtitles. Albeit, the listed scenes have clear humorous overtones. In 2015 the film was officially banned in Ukraine for "containing scenes that humiliate Ukrainians as a nation". In October 2009, the film received mention in a Salon article.+ Literature Florian Weinhold (2013), Path of Blood: The Post-Soviet Gangster, His Mistress and Their Others in Aleksei Balabanov's Genre Films, Reaverlands Books: North Charleston, SC: pp. 66–90. Susan Larsen (2003), "National Identity, Cultural Authority, and the Post-Soviet Blockbuster: Nikita Mikhalkov and Aleksei Balabanov." Slavic Review, vol. 62, No. 3, pp. 491–511. Cast