Gloomy and monotonous "Intercept," though sometimes found, "Deep Strandina," came out boring and slow. Director Wondy Curtis Hall shot only TV series, part of the series or full episodes, and here - a full meter about the ghetto. As a historical stain of Los Angeles, the picture conveys the spirit of crime, but the implementation of the story about a father who was kidnapped from his son has faded. The drama comes immediately, giving the exhibition a couple of minutes. Here's Tyrese Gibson, here's his son, here's the carjacking of his son.
The film does not aim to reveal the maze of the search for a hostage, but immediately lets you know who the antagonist is. Rapper The Game (or just Game) looks as nasty and rude as possible. That's how a villain should be, right? But no, we have aggression and unbridled power. The plot brings Gibson with the fraudster Coco to develop a line of partnership and money search. Somewhere in the distance flashes romantic notes. Patternally and simply, the heroes try to find a way out of a difficult financial situation, going into all criminal ones. While Brian O’Connor’s partner tries to resolve the issue, the drama doesn’t stir up passion. There is no sense of threat and uncertainty, besides, the viewer sometimes sees a kidnapped boy.
The father's feelings were not developed, one episode with his son and then the main events of the film, so there is no full-fledged drama. The crime, which is obvious when a couple of heroes need a day to find a huge pile of money, brings together different gangs of the district. The east and south coasts of Los Angeles shed light on the darker neighborhoods, but the geographical feuds and gang-incitement are too sluggish. We set about a major conflict, but in the end, the same Tyrese and Coco in search of money.
Gradually, the interest in watching the characters disappears, you wait for some actions, unexpected turns, but there is a predictable walk along trodden paths, which makes you immediately see what kind of hero will behave. Betrayal and deception were so obvious that they left no trace of experience. Shootings and injuries also did not justify the drama, although the hero of Gibson - a father who saves his son - shows pleasant emotions. But everything is written down to his past, which the author did not care about. Why would we emphasize his previous convictions and fear of being caught again when the hero still breaks the law, openly robs banks and carries out violence? For my son, of course! But it is so obvious that the thread of sympathy is lost.
Unjustified! The director for the “tick” had to go through the biography of the protagonist to write off some conventions in the finale. The plot of the whole film tries to achieve the goal, uses the motivation of the main character in every possible way, pulls out and seems to save the narrative with the final drama to (what?) cross out this move in front of the credits. It would be a beautiful, dramatic climax, but there is a miss.
In general, the story is quite exciting and impressive, you believe in the emotions of the character, but the monotonous and boring achievement of the goal lowered the bar of the film.