Guy Pearce in the action movie "Rush"

Movie premiere

Today, the action movie “Lockout”, produced by Luc Besson, is being released, which is not always the best recommendation, but in this case it should not scare you away: the French master came across two rather gifted guys from Dublin - James Mather and Stephen St. Ledger, yo 20 who made commercials, and now in their feature-length debut, they combined the traditions of “Die Hard” and old Hollywood romantic comedies about opposites attracting. LIDIA MASLOVA encountered a lot of familiar things that never get boring in the film.

First of all, this is an individualistic type of protagonist, which has not undergone fundamental changes from the heyday of Bruce Willis until 2079, when the action takes place. To play a CIA agent who was framed and accused of high treason, Guy Pearce remembered his youth as a bodybuilder and pumped up 20 kilograms of muscle mass, which suits him very well - if enlarged biceps can influence his facial expression, giving him additional arrogance. All of this man’s jokes (and he jokes a lot) are “shock”, that is, those for which they get hit in the face. The very first interrogation, during which the negative character of Peter Stormare tries to extract a sincere confession from the hero, looks something like this: “You don’t like me? - Nobody likes me. - That’s why no one loves you. - Come on, everyone loves me, just ask his wife." Having been punched in the face for someone else's wife, whom he had never seen, and being accused of a murder he did not commit, the hero is faced with a choice - either go to prison for 30 years, or agree to a job that only a suicide would volunteer for. It consists of going to a special regime orbital colony, where 500 especially dangerous criminals are serving life sentences, and getting out from there the president’s daughter (Maggie Grace), who arrived on a humanitarian mission - to check whether inhumane experiments are being carried out on prisoners (of course, are placed), and she herself is about to be taken hostage by prisoners who have escaped obedience.

The hero agrees after he learns that his partner (Tim Plester) is in prison, who managed to hide a case with interesting contents before his arrest. Damsel in distress worries the hero last of all, as an annoying hindrance, which nevertheless has to be dealt with - and if at first she makes a rather boring impression, then she later turns out to be not at all such a hopeless daddy's girl as she seemed, and reveals a happy ability to succumb to bad things. influence. Without even really getting to know her unbearable savior, she manages to hit him on the head with a fire extinguisher, and then throughout the film a lot of things happen between them, after which people cannot remain strangers: among other things, the hero has to do, on instructions from Earth the girl was given an injection of hormones that stimulate nervous activity, by inserting a needle into the thalamus for some reason through the pupil. “Ugh, I’m about to vomit,” the hero comments on what is happening, which will perhaps remind someone of the famous shot of adrenaline in the heart in “Pulp Fiction.” In "Ahead" almost everything reminds someone of something, but it rather produces a pleasantly nostalgic impression, also because the authors understand perfectly well: everything has already happened, and all that remains is to mix the known ingredients in new combinations, but why? It’s okay to be upset about this if you can joke about it. In much the same way as the hero jokes in response to disturbing questions from Earth, how the rescue of a valuable hostage is progressing: “Any news? - Well, global warming. One celebrity has enlarged her boobs. They’re chasing a bald guy in Congress again. In general, everything is as always.” This monologue reflects the very charming old-fashionedness of the hero Guy Pearce, who, of course, does not belong to 2079, but to much more ancient eras of cinema, and you can’t get over him with futuristic reproaches: “Look at you, no one smokes for a long time!” However, even this seasoned sage and unstoppable warrior eventually reveals one secret complex of cinematic origin - the hero’s father, having given him a girl’s name, apparently wanted his son to be like John Wayne, and in many respects this cinephile achieved the goal.

Without orbital complexes