A very tough CIA agent named Snow (Guy Pearce) gets into trouble: some unpleasant people are trying to soak him in the toilet, an undercover colleague lies shot through, special forces are banging on the door, and a helicopter is raining bursts of fire from outside the window. But these are not even the real problems. Problems begin when Snow is accused of treason and murder of that same colleague and is sent to prison. But this, in principle, if there are problems, then, perhaps, only for Snow himself and his employers. The real problem will appear when the president's daughter Emily (Maggie Grace from "Taken") goes to the orbital station - a high-security prison, where a hundred or two especially dangerous psychopaths are packed into lockers in a state of deep frozen consciousness.

This condition is called “stasis”, it has been poorly studied, patients complain of nightmares and mental disorders - a liberal-minded girl wants to study the impact of “stasis” on the well-being of prisoners. What dreams will you have in that mortal sleep? Answering a similar question, the inopportunely awakened rapist and lawless man Hydell ( Joseph Gilgun , a pleasant skinhead from “This is England!” and an unpleasant drug dealer from “Harry Brown”) shares his sexual fantasies with Emily’s participation.

As a result, he gains freedom, weapons and the ability to wake everyone up. Including the killer Alex (Vincent Regan), who has organizational skills.

Now this is a problem for which you can send former agent Snow into space.

An action movie starring Guy Pearce as Bruce Willis (and a bit of Jason Statham , who's also kind of Bruce Willis ) is a pretty weird twist in itself.

The same action movie, produced by Luc Besson , is already an application for recorded obscenity. The film begins with an interrogation scene in which the hero gets punched in the face every time he says something offensive about the close relatives of the interrogating secret service chief (Peter Stormare) -

Pierce delivers other people's trademark jokes at the speed of an intense stand-up: Willis himself was not beaten so often, it seems, even in “The Lone Hero.”

In space, the action, alas, sags somewhat. Upon arrival, a lone rescuer traditionally blasts the person being rescued with a fire extinguisher, but then something happens to the script, and instead of the expected mochilov in the format “one of our guys against a bunch of strangers,” the girl is bullied by a supposedly charming asshole. The couple meanders through the corridors of the station for a long time, reminiscent a little of Han Solo and Leia, a little of Steven Seagal and Erika Eleniak from the action movie “Under Siege” (where the bad guys captured a battleship). Sometimes they bump into someone, sometimes someone bumps into them.

At some point, for the sake of order—it’s space, after all—the orbital station fires back from incoming fighters in the manner of the Death Star being attacked by the rebels.

Besson's latest apprentices borrow a little from everywhere - "Con Air", "Plane of the President", "Die Hard" - the list goes on for a long time. Every cliché is taken to the point of absurdity: if you shoot hostages, then in batches, if there is a girl on a ship, then let him confuse the cardinal directions (in space this is really difficult), if he is a rapist and murderer, then let him do it in such a way that all other rapists and murderers will be ashamed.

Everything is according to the rules, honest category “B” without pretensions to a real blockbuster, one thing is not clear: what winds brought Guy Pearce here?

Prometheus Let's say that while filming Ridley Scott's , he got a little lost in space.

Action movie "Run" at the box office