In pursuit of a generator, with the desire to save the world from the wildest crime Marina Kunarova continues to try to convince the public that good action films have begun to be filmed in Kazakhstan, and in general, movies are at their best. In her debut, 999, she talked about how bad drugs can be. Now moved on to the problem of crime, veiling the plot in a fantastic wrapper.
After an hour of viewing:
The fantastic wrapper turned into fantastic nonsense, and this nonsense is expressed both in the script and acting, and in special effects and visual improbability. It took an hour of patience to take a short break, because watching a movie without a bitter laugh is not possible.
Heroes do some unimaginable things with extremely serious or sad faces, and plot twists are so stupid and ugly that watching events is not the slightest interest. The brain captures only individual episodes, with difficulty linking them to each other, because the director focused only on the action made out of the wrong hands. Yeah, let's copy Hollywood tricks without even knowing how to do it. There is no point in recounting what happens during this hour, but the apogee is the complete disregard of the three sciences at once – logic, physics and biology. You know what's going to happen to two people driving at full speed in a car right to the train, right? Kunarova didn't care about the truth. Of course, I believe that such a collision is nothing!
But what is the rest of the session?
After viewing:
The remaining time contained a mixture of even more pathetic experiences and even more hilarious action. Implausibility continues to rule the ball, because to get only a few scratches, falling off a cliff - it somehow does not fit with the real world. You have to do what has been shown.
I don’t know how to describe what’s going on throughout the film, because the only plus of the nonsense shown is the apparent bias toward comedy through drama. The creators, without knowing it, of a fantastic action movie created a ridiculously unprofessional, almost two-hour nonsense, then hitting a big and sad boredom, then dragging us back into the whirlpool of irrepressible imagination of Marina Kunarov. When a woman takes on social science fiction, it turns out not to understand what.
Yes, and there is no desire to analyze the frankly skittish product of the Kazakh film industry. You can see a kilometer away that it smells like a wild thrash carnival, which absorbed not only Kazakh actors, but also a couple of foreign actors plus Nikita Presnyakov, who emerged from nowhere, who is kind of the youngest in the Presnyakov family of artists. Hopefully Kunarova did want to make fun of her own idea, because if you take Ghost Hunt any seriously, you can jump off a bridge. No insurance. This time not surviving.
2 out of 10