Wolf boomerang After the masterpiece “Ghoul” (1997), our next genre experience actually “Attraction” appeared only in 2002, and this film, the first Russian horror of the twenty-first century, is characterized by both disadvantages and certain advantages. The authors have a good sense of genre, and in the picture there is a special atmosphere inherent in 19th-century Gothic (the example of “The Ghoul” by Alexei Tolstoy), the same thing I once saw in “Family of Ghouls” (1991), filmed based on the story of the same author. An honest attempt to shoot a pure genre without admixture, grabbing like a beech in the dark, turned here half luck, but this is already good. The film plays the mythology of werewolves and does it in such a way that even sometimes you frankly shudder that in the genre of Russian cinema it is generally rare. To the disadvantages; bad that a good half of the picture werewolf is not visually represented at all, in the same sense of any horror, there the grotesque shadow will flash, there the tail is glimpsed, and it was or was not understood. Heroes get killed by emptiness, some air, but in general not bad, very good.
Films about werewolves have never been popular in our country, there are much more lucky ghouls Russian cinema has almost fifteen films about bloodsucking. “Attraction” can be positioned as one of the first domestic horrors of our century. Much closer in atmosphericity, this film is to the Russian horrors of the nineties than to the subsequent “Watch”.
The theme of betrayal, redemption, evil returning boomerang clearly sounds here partly covering the flaws of the script and weak even by the standards of that time special effects.
Playing in the forest, children throw their little comrade to the wolves, and he, turning into a werewolf, after many years begins to take cruel revenge. Bloody murders follow one after another and it is those who at one time a coward threw a comrade to the slaughter of wolves die.
The main disadvantage of this film is a frankly cartoonish werewolf, there are no claims to the acting game, even in such a plot they openly play according to Stanislavsky. I can also attribute to the disadvantages that when a werewolf allegedly attacks, we are shown this through the reaction of the actors, they make a grimace or shout, but the act of reprisal is not correctly shown as well as the werewolf himself, who appears only in the last minutes of the film.
So, the evil launched by the boomerang returned after many years, weaving fate into a tight knot of contradictions. In conclusion, our horror films have always had no tendency to lose thought and meaning in the beauty of the plot, and this is its difference from Hollywood cinema.