It's not a real movie, it's a two-hour series. And if it had actually been made as a TV series in 1998, it would have made some sense, it wouldn't have looked much worse than Star Trek or At the End of the Universe. But in pursuit of the long buck, everything was crammed into a movie to spin in theaters. As a result, it looks completely frivolous, since it accommodates a huge number of events in a couple of days: three hyperjumps, several villains, a constant change of sides by a robot, a time machine, two deaths of most of the team that were canceled, a meeting with themselves from the future, the expansion of space bugs ... And I'm not sure I said everything. That's too much. Some of the adventures are not related to each other, that is, do not work on the overall plot. So you can cut them out. Throughout the plot, the characters were busy just saving themselves, but they achieved nothing within the framework of the task for which they originally went on the journey. That is, the plot - the family flies to the designated planet, the ending - the family, having experienced difficulties, again flies to it. I understand that the story should have continued in sequels that were canceled due to failure, but this failure was due to the fact that the film is very focused on the communication of characters, and there is no story in it. There is a conventional set of scenes with amazing events and obstacles, but this is not a plot, it does not trace the buildup of tension, some idea, the desire of the film to any outcome.
However, I found two small pluses in the film:
- The villain was a little less clichéd, did unusual things, talked a little smarter than we were used to.
- The film proved quite well what the hell the whole family is flying into space. Their relationship is not bad.
But that's literally all the pluses. And if the film began as something serious, adequate, then later it became more noticeable in the cartoon. With the advent of an absolutely ridiculous cartoon rubber monkey that does absolutely nothing in the film, the credibility of the film died. Then epic events were created one after another with such ease as watching Futurama. And the villain, whom I praised above, was at the end ideologically merged, replaced with a banal beetle with habits for "filling." It had nothing to do with where he started. A vivid example of a film, the score of which at the beginning pulls 7-8 points and falls throughout until it reaches the bottom. Flying through an exploding planet, which was playfully destroyed by one of the heroes (and there was also life), and jumping into another funnel – it was so bad that the initial good impression simply died. At the beginning of "Star Trek," at the end of "Spy Kids."