Sputnik

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.

没有把太细一点就可以了,电影里面的链接康斯坦丁兽所有这些外部,文化力量。但它也怪物与残忍和自私的决定联系起来,人们做出的野心名称:康斯坦丁是一个年轻的鳏夫谁藏匿他的儿子在眉头,国营孤儿院,而不是放弃他的进入太空儿时的梦想,似乎(在某种程度上),看看他的近况作为惩罚他自己的背叛和道德的失败。

康斯坦丁和塔蒂亚娜之间的关系是多方面的,以及,都是一次意义不止一两件事,协会只是足够长的时间让关注它的一个版本中转移。女主角是与她自己的恶魔拼杀(如谁是由crushingly面向传统-,非常男性的政府采用了特立独行的女性理性主义),而她与康斯坦丁的相互作用不同设置了她作为一个受挫的恋爱对象(美给他的野兽);为保护妹妹或双胞胎的妹妹,他从未有过的;作为一个自封的母亲形象保护受虐待的男孩在一家国营工厂从一个恶毒的父亲(其中融合了康斯坦丁自己的问题作为父亲,“英雄”和国家囚犯变成一种有效的弗洛伊德的鸡尾酒)。

我应该在这里承认,当我坐下来写这篇评测,我没想到能有尽可能多说了,因为我有。我还要重复,再次,它不是预期的风格元素,跳跃恐慌,身体恐怖影像,血液即提出这部电影中我像寄生虫或共生的杰克逊·波洛克喷雾剂。这是讲故事的人为他们的字符(甚至是上校,谁在新约的意义,不知道他做什么)明显同情这提升了材料。更是这样,这是演员们的同情,因为他们描绘陷入困境,在每一个意义是不可能的个人,一个人不能‘赢’无论怎么说有人试图。最感人的恐怖接受它已成立的前提悲剧的必然性。这是那些电影之一。

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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马特·佐勒塞茨是特约编辑RogerEbert.com的,电视评论家为纽约杂志和Vulture.co兴发m,以及普利策奖在批评的决赛。

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Film Credits

斯普特尼克电影海报

Sputnik (2020)

额定NR

113 minutes

奥克萨娜金希娜作为塔季扬娜Klimova

Pyotr Fyodorov作为康斯坦丁Veshnyakov

Fedor Bondarchuk作为Semiradov

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