The good news is that filmmakers are finally getting to mix horror with comedy. This once seemed an absurd and impossible task, for cruelty and laughter do not combine in the psychology of a normal person. But now the attempt was successful, because of the horror there are only clichés that no one takes seriously - for this idea it is even a plus. The film is light, pleasant, dynamic, it leaves a positive impression. There is an interesting game with expectations of the audience: not the hero, not this situation, unusual actions, an unexpected problem for his genre, etc. At the same time, there are still not so many twists that the viewer gets confused and scored on the thread of the film. Plus, that's it, because if you turn on the brain, it turns into complete nonsense. The authors themselves became confused in their graphomania and did not understand what and why their characters do:
- If the heroine, after seeing her mother alive, changed her mind to return to her original reality, then why does she force scientists to continue working on the apparatus that returns her?
- Well, she's dealing with a time loop, but her day only restarts if she dies! If she does not die, she will live as before. So she just needs to neutralize the maniac, that's all. She doesn't need a machine.
- The scene with the jump in his pants from the plane makes no sense and serves only fan service. Showing a beautiful woman, yes. But why did she have to undress? Why did she show the faqs in the opposite direction to those she was showing them to? How could she fall with such millimeter precision in front of the right people? And why did they continue to exist after her death if the day was to be closed immediately?
- Slicing with sophisticated suicides is complete nonsense. Even if you are guaranteed to be resurrected, it is very unlikely that you will want to die with a meat grinder and swallowing solvent. Because it hurts a lot.
- If the maniac turned out to be a doctor who was going to get rid of his wife anyway, then why would he kill a mistress with whom he had no problems?
- If she had to get her boyfriend back, why would she want to go back to reality? She already won his love in the new arch. Well, yes, there's a difference between getting it today and being together a long time ago, but that difference isn't big enough to sacrifice the lives of a mother and a friend for her.
- In the post-credits scene, the military wants to send someone into a time loop and instead of doing it with a trained volunteer, agrees to hooliganism over a civilian. Revenge? Who? In this reality, this woman is not to blame.
All these mistakes once again show the cinematic kitchen – scripts are written in the wrong place. They are not invented from the point of view of how thinking people would act, they are simply compiled from a set of clichés, deconstructions, twists that evoke emotions and kringe of vivid scenes, and from all this a vivid dynamic porridge is obtained. Such a film acts on the viewer as an electric milkmill, causes him a set of colorful reactions. But it doesn't make sense.