Game The screening of something is actually ungrateful. No matter how hard you try, ardent fans and fans will almost always raise bayonets, criticize to dust and will find fault with any little things. Whether it’s a comic, a computer game, a book or a series of toys, the viewer always gets the author’s vision of writers and directors, played out on the screen by the cast, and like any author’s exclusive vision, such a work is not to everyone’s taste. The problem with Cobra Throw is the complete absence of this author’s vision. Sommers seems to have forgotten what he is doing, what he is filming, and whether he had a script at all.
With the basic idea of capturing warheads, which we are fed from James Bond to Austin Powers, the plot is forgotten in principle. How can you find fault with something that simply does not exist? There is no history, there is running, plotting and epilogue after two hours of despondency. Tatum will continue to build either "buratino" or "stone golem", in another attempt to play both love and superhero. In "The Throw of the Cobra" from the lava stories there is only a plot. Such a typical "given" for a problem whose solution never appears in all two hours of action.
Speaking of action. The action is only half of the film, all the rest of the time the viewer is forced by inquisitorial torture to listen to the stupidest dialogues about anything, devoid of even typical heroism and pathos, inappropriate scenes of memories that have nothing to do with the plot at all, after absolutely unnecessary prologue about the sixteenth century, you already want to leave the hall, knowing perfectly well - then it will only get worse.
Like the unchanging face of Tatum, the film does not produce any impressions, does not capture or attract, and does not cause any change in emotional state.
The only sensation that seriously arises when watching is the constant feeling of déjà vu. Sommers, taking up work, understood clearly and childishly only one thing - he shoots a game about soldiers. So, toys do not need emotions and characters – this is superfluous, let’s immediately divide the world into black and white. The truth of the white ninja will give evil, and the black will become a kind of “dark knight” of the light side, what a move, bravo! Should everyone like it? Next, take a jagged plot - an evil genius seizes a weapon that threatens the whole world and only special lotions of special forces can prevent it. Wait, Steven, you're not doing James Bond, you're not doing Mission Impossible, you're not even doing Bourne's new adventures, come to your senses! The licked next “dano” is narrowed by the primitive framework of an evil doctor, a developer of military equipment, and an abandoned lover. The world has not yet seen a more typical lineup of villains, and even if someone finally decided to return to the origins of Bond, it would look all much more interesting and exciting.
Sommers continues to play with toys. This time he can not play himself, role-playing games have begun! Steven imagines himself as Paul Anderson, making a copying scene with a suitcase in the laboratory, lotions of slow-motion (not to confuse Anderson’s style with the shooting of The Matrix), pointing the angles and rotation of the camera around the scene. Then Sommers imagines himself as John Favreau, copying Stark Industries almost pure, but making his own adjustments - changing the genius inventor for the genius villain. Then went and went direct quotes from “Wolverine”, “Star Wars”, “The Incredible Hulk”, “Deathly Battle” and even “Star Trek” from where the red-haired girl appears before us a kind of Spock, who does not believe in feelings and relationships, and only in the end knows the full power of emotions. It can be pleasant to look at the chips taken, because in their films these elements sit where they should, but in "Mop Throw" for some reason you constantly feel that "I have already seen all this," and you begin to miss.
Sommers is devoid of visual style, devoid of a sense of a beautiful frame, does not understand the correct presentation of special effects, and as a result, we are forced to observe how the painted tower crushes running devils (men), and so a computer flying machine flies past that the graphics resemble the crafts of the Asylum studio with their not high-quality texture processing or simply lack of it.
Having quoted the “Iron Mask” (together with “The Mask of Satan”), “Abode of Evil” and “Iron Man”, the action moves on with the trimming of events in which you do not understand who is fighting with whom, who is on whose side, and why it was necessary to shoot such a thing at all. Quotes do not look like references to works, in the form of working chips, but an ordinary copypast and licking ideas by shameless screenwriters, and the director himself is happy enough, imagining himself someone else, but not reflecting himself in the production. The episode with Zartan will seem like a mixture of scenes copied from Wolverine and The Incredible Hulk, causing only head shaking and heavy sighs. The film is not observed at all, nor any new ideas, nor semantic content at least in a naive and instructive form for younger schoolchildren.
Looking at computer helicopters and poorly drawn fish, you realize that one thing could have saved the movie, and it's called 3D! If all this computer cartoon jumping cheerfully from the screen into the auditorium - the movie would work much better, due to technology, it was possible to turn many disadvantages of animation and weak effects into spectacular advantages. But here the creators make a big mistake, hesitant to make a film in 3D technology, and serve a boring action in the most ordinary manner.
From the film you simply get tired and there is no desire to look at the buffoon happening on the screen. Boring and not memorable music only increases the negativity. Here, in “Cobra Throw” shot only 30 million less than “Transformers-2”, there is not a single impressive and interesting scene, and all that is at least somehow remembered, either because of the truly poor computer graphics suitable for TV fantasy action films of the 90s, or because the scene is brazenly stolen from another film.
The film presented in front of us can be characterized by just one word - play. And unfortunately, this does not apply to the activities of the cast, but exclusively to the content of the film. Screenwriters play soulless puppets-heroes, episodes of the film play similar and identical episodes of other films, and the director himself plays soldiers and prefers to play either Lucas, or Anderson, or anyone else, and does not try to return to the present, and remember that he is Stephen Sommers. If “The Mummy” was some kind of but still an analogue of “Indiana Jones”, and “Van Helsing” a dark free reinvention of classical cinema, then “Mop Throw” came out as a soulless, empty and frankly weak film. Worst film by Stephen Sommers.
1 IZ 10
Original