Elizabeth Hurley and Petsy Kenzit, ladies of the half world who have never hidden their greed and openly hunted the rich and famous of this world. The first was in a civil marriage with rising star Hugh Grant, broke up with him, then dressed in a decolleted dress, defiled along the corridors of fashionable hotels, until she faced an Indian billionaire, married him with a scandal and divorced a few years later. The second focused on members of the musical elite, and in a short time managed to marry four times, changing husbands depending on the position of their albums in the Billboard charts. Naturally, each marriage brought women money and increased the number of mentions in the media.
It is not without logical symmetry and travesty reduction that in the film "Death Cruise" actresses not only play together, but also presented in the images of girls of easy behavior. Lou (Hurley) and Sue (Kenzit) huddle in the apartment of a seaside hotel, during the day they serve small officials of the Admiralty, in the evenings they dance in a backwater bar, where under the cries and rumbles of sailors one of the friends is exposed to underpants. It is clear that the city is tired of them, and it is time to move on, to expand the fishery to the East of the Caribbean Sea. The case brings them together with a heavily drinking skipper performed by Jurgen Prokhnov. Upon learning that the sailor has a yacht, they use “homing torpedoes”, and then take from him a promise to take them to Barbados.
Death Cruise is not the first film to attempt to vivisection of human beings in a confined space, and certainly not the best. Under the influence of the sun and the vast sea, the girls on the yacht commit destructive acts that do not have a well-developed psychological background behind the external effect. This is partly a script problem, though in many ways the actresses themselves. Kenzit confidently spreads his legs, looking under the gaze of the hetera, but is not able to convincingly show the wayward nature of his heroine. Hurley is inimitable when she dances or runs on the deck every now and then showing her chest falling out of her shirt, but in moments of tense interchange she looks like a wooden doll of Professor Hoffman’s novella.
Unlike his companions, the hero Prokhnova has a background, it explains a lot in his behavior and becomes a plot-forming element. While swimming, the girls find a photo of the skipper’s ex-lover and empty vials of the drug, which exacerbates the already tense atmosphere and leads to far-reaching, but not always true assumptions. Possessing not so much talent as a natural charisma corresponding to the marine environment, the actor organically depicts a descended sailor who regains strength in his native element when he raises a sail and lays a course for the next journey. He brings to this vague and far-fetched film emotional authenticity and professional accuracy of actions.
5 out of 10