Review of the film "Project Adam" - science fiction with Ryan Reynolds about time travel
A mediocre sci-fi action movie, which is saved from frank failure by one of the main jokers of Hollywood.
A scrawny and snarky boy named Adam (Walker Scobell) is bullied at school and is having a hard time misunderstanding his parents. A year ago, his father (Mark Ruffalo), a brilliant inventor who created the theory of time travel, died in a car accident, and now the boy is being raised by a single mother (Jennifer Garner). One evening, the hero enters his dad's garage and stumbles upon a strange man who has bled to death (Ryan Reynolds): he turns out to be an adult version of Adam from the future and asks the boy for help. Together they must get rid of the pursuers, launch the spaceship and return to 2018. After all, this is the only way to contact a still living father and stop a catastrophe on a galactic scale.
Ryan Reynolds has finally found his Wes Anderson, who will call him to all new projects. Director Shawn Levy is making his second film with the Canadian star, and in the last couple of days, news has surfaced that the director will also be taking on a Deadpool triquel. Their duet is no doubt getting stronger: in "Project Adam" Reynolds has even more room for improvisation than in "Protagonist", and almost all the cameras are glued to one comedian. Its vulgar vanliners and postmodern jokes are the best thing about this explosive genre attraction.
As soon as the attention shifts from Reynolds to the central story, you begin to notice that they are trying to fool you. Science fiction does not have to be original in every detail and plot, but the second nature of Project Adam, which at first evokes a feeling of light nostalgia, leaves nothing but deadly fatigue towards the end. A Guardians-of-the-Galaxy-style space opera interspersed with a tearful story about the importance of accepting the past and the present. Levi, who has always gravitated towards Hollywood sentimentality, has had problems with melodramatic excesses before, but here he has outdone himself. Even Reynolds forgets overnight what it's like to be funny and dispenses mournful morals about fatherhood and responsibility.
The main problem of "Project Adam", however, is not even in its tone. In a big studio movie, you can experience both naive love lines and moralizing. For a film that features time travel, spaceships, and explosions, Levy is paradoxically lacking in a childish streak. At the beginning of the movie, it resembles old-school eighties sci-fi (yes, inexpensive and cobbled together from all possible templates, and yet charming), but the larger the story takes on, the more difficult it is for the director to direct it in the right direction. "Night at the Museum" and "Real Steel", for all their genre conventions, were primarily naive tales about people. Talking about love, parental care, and loneliness are obvious nonsense, but in the hands of a studio master, all these common truths could knock out a couple of insidious tears. In Project Adam, on the other hand, there is no visual inventiveness or blockbuster spectacle, just a set of scenes with Ryan Reynolds as another maturing infantile.
This article was sponsored by Ruslan Samusenka
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