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In our country, science fiction and horror stories of the 80s are treated with special trepidation. Thanks to the VHS era, Alien, Predator, Terminator, and The Thing have grown to roughly two generations. Thanks to the efforts of Volodarsky, Gavrilov and other masters of dubbing-bubnezh, American classics have become pretty “Russified” and have become the same part of our cultural code, like, for example, “The Diamond Hand”. The highest form of flattery is imitation, and therefore it was only a matter of time when one of the Russian filmmakers would finally decide to express their love for films from the video with their own full-length homage. Or, as skeptics sarcastically say, "the answer." As soon as the Sputnik trailer came out, it seemed like it did happen. 1983 year. The Orbit-4 spacecraft returned to Earth, but something happened during the descent. As a result, one of the two cosmonauts is torn to pieces, and the other is unconscious. To assess the condition of the survivor, neurophysiologist Tatyana Klimova is brought from Moscow to an institute in Kaz CANAL+ Satellite akhstan - a daring nonconformist whose career is about to sink due to a dangerous experience with a patient. Pretty quickly, the girl learns that she was not called at all for the sake of a simple examination. In cosmonaut Veshnyakov, a predatory alien creature has settled, capable of getting out for a short time. But the parasite and the host cannot exist separately. Klimova are tasked with finding out how to finally extract an individual from Veshnyakov and at the same time save his life. First of all, no - this is not a Russian "Alien", even if there are a couple of visual references to the film by Ridley Scott in the film. There is also little in common with the "Live" tape. And there, and there, the alien acted as the dominant force, and the main concern of the heroes was survival. But in "Sputnik" the alien creature is more a circumstance than a full-fledged participant in the events. The monster sometimes appears and even eats someone, but those who expected a dynamic sci-fi horror movie from the movie will be the most disappointed. Before us is, in fact, a conversational thriller, almost a play. In total, there are three participants in it, in addition to Tatyana: Colonel Semiradov, who invited her, is surprisingly progressive for a security officer, scientist Rigel, hysterical and jealous, and the cosmonaut Veshnyakov, who carries a monster inside him. Along the way, the main character will have to understand which of them to believe, which side to take and what, in fact, to do with the alien. This format assumes that the relationship between characters, dialogue and story is much more important than a rare action. This is a great solution if the budget for "Aliens" is not enough, and you really want to try your hand at science fiction. The problem is that in such a scenario, the requirements for the script increase considerably, and in Sputnik it is at least not perfect. The authors of the film are Andrey Zolotarev and Oleg Malovichko. The first worked on the good Icebreaker and the disgusting Dancing to Death, the second on the hit series Method and the failed Night Watchmen, and together they wrote The Attraction, Invasion, and the musical dilogy Ice. Even a quick glance at these track records is enough to realize that both writers love the same thing - Hollywood clichés. Time-tested plot moves are used by them without any hesitation and with minimal adaptation to Russian or, in the case of Sputnik, Soviet realities. The characters speak and behave in the same way as their many prototypes from those very VHS films, which on an intuitive level does not feel right. If you turn on any tape of the perestroika period in parallel, you will understand that even in the characters of "Chernobyl" from HBO there is more of Soviet citizens than in the main characters of "Sputnik". However, some of the spectators may not be distracted by this at all. Much more damaging to the film is that clichés become the main driving force of the story. Characters do certain things not because the situation requires it, but as if because the genre requires it. Because heroes of a similar archetype have done this in other films, and motivation can go through the forest in an embrace with logic. Well, if the points in the script do not connect elegantly, then they are sewn together for profit, which is why the film is full of moments that can be accompanied by a memetic “oh, h https://jiji.com.et/nifas-silk-lafto/other-services/canal-satellite-CkTk1ycwfCevnd2SiHDQ01ZB.html