该孵化原蛋“外侨”催生科幻恐怖的整个体裁,有关治疗人体作为伪装或肉侵入外星生物。最新的条目是“人造卫星”,这是一个研究俄罗斯的惊悚片雷德利·斯科特的电影,和大部分将智能课程from it. Director叶戈尔Abramenkostages the mandatory stalking and carnage with the right mix of elegance and bloody brio (you often think you see more than you do), but not so proficiently that you forget that you’ve seen this kind of thing done many times before. Luckily, the performances and characterizations add heft, and the very Russian vibe of soulful heaviness sets it apart from its American cousins.

“斯普特尼克”是于1983年在冷战的最后一个热销期设定。俄罗斯宇航员的阿朵一家从事轨道研究任务经验莫名而返回地球。航天器发生故障在重返大气层时。只有一个船员,康斯坦丁(Pyotr Fyodorov), survives, and starts behaving, er, strangely. The elliptical storytelling at the start of the movie delays telling us exactly what’s wrong with him, but this is a horror movie, so you can be sure he didn’t turn into the Russian Mr. Rogers. (Spoilers follow.)

不出所料,事实证明,康斯坦丁和他现在已故的合作伙伴带来了访问者回来。他住康斯坦丁,谁已经在卫兵之下军事研究设施被限制之内。主管人员,Semiradov上校(Fedor Bondarchuk),旨在从塔蒂亚娜Klimova帮助博士(奥克萨娜金希娜的“Lilya 4有史以来”和“谍影重重”), asking if she can study Konstantin and figure out how to safely separate him from the creature. A phrase scribbled in Tatiana’s notebook sums up the gist of the challenge: “Parasite or symbiote?”

剧本中最好的部分,贷记奥列格Malovichkoand Andrei Zolotarev, zero in on the trio of Konstantin, Tatiana, and the Colonel, filling out their psychologies by pitting them against each other, and linking them to historical and political facts of life in the USSR nearly 40 years ago. At first, the Colonel seems like one of the most reasonable and sensitive men in the history of the Soviet military. But Tatiana is right to not trust him, and we start to see him as another kind of monster: allied with blind patriotism, warmongering, and obedience to authority even when he has a gentle fatherly smile on his face.




One of the most beautiful things about horror is that the genre is set up to allow storytellers to attack basic human fears, desires, and conflicts head-on by making metaphors into concrete threats to safety and/or sanity, without worrying that audiences will complain that they’re being either too ambiguous or too on-the-nose (a lot of the best horror is both). The symbiote-or-parasite living inside Konstantin comes from somewhere beyond Earth, but the way it’s used in the film transforms it into an abstract demonic or satanic force—a mass of sickly white insectile flesh that can compact itself into a wad small enough to fit inside a person’s stomach or unfold to five feet in height, unfurling its bony legs and arms like a mantis’ limbs. The creature design, by the director in collaboration with主道后, is a masterstroke: staring at this thing, which looks horrifying from some angles and almost cute from others, you keep thinking you can see intelligence or motivation in that wet, many-eyed face, but then you decide it’s just your imagination—that you’re just projecting onto it.

其中,当然,在这样一个故事整点那样的生物。这是“我心中的野兽”说尼克·罗威sang about“白天和晚上笼由身体虚弱和脆弱的债券/坐立不安。”

Available tomorrow in select theaters and on digital platforms.

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Film Credits


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113 minutes


Pyotr Fyodorov作为康斯坦丁Veshnyakov

Fedor Bondarchuk作为Semiradov