Last Updated on July 6, 2022
PLOT: Two Russian astronauts go into space, and only one returns alive. The lone survivor doesn’t know that there is a small problem that has to do with an alien parasite living in his gut. No worries, though. The government has his best interests at heart.
LOWDOWN: I don’t know much about Russian cinema, as it has never been on my radar before. It’s tough trying to see every Hollywood release that looks good, let alone seeking out any gems from other countries. Unless word-of-mouth is strong, films can slip through the cracks. I got SPUTNIK (WATCH IT HERE) via an email screener along with a decent trailer and some cool promotional stills. In preparation, I did what any other critic would do. I poured some vodka, ordered a hot borsch, and hoped for the best.
Set in 1983, we see a space capsule with our two astronauts crash into a remote area in the Russian countryside. Discovered by some dude on a horse (Russian cowboy?), we learn that one has half their head missing while the other (Pyotr Fyodorov) is freaking out, coughing up blood, and sporting some gnarly pitch-black eyes. Holy hell, this how you set up a story! SPUTNIK doesn’t waste any time and gives us one of the creepier openings I’ve seen in a long while.
As Egor Abramenko’s first feature film, I’m blown away by how cinematic the whole thing looks. I’m talking shot compositions, moody lighting, and set design that have the makings of a seasoned director at the top of his game. Damn, this one is pretty, and Abramenko is smart enough to milk the scenery for everything it’s worth. The first time we meet the alien creature is in this drab, cold cement cell. It’s silhouetted from fluorescent lights in a way that could have been pulled straight out of a SILENT HILL game. This flick oozes so much style you could fashion a coat and Babushka out of it to keep you warm during those cold winter months.
SPUTNIK is deliberately bleak and more at home with the likes of ALIEN 3 (assembly cut, of course) than LIFE or even VENOM. Things start somber and don’t get any better with the suspicious military (is there any other kind?) keeping our Soviet hero in containment for “extra” testing. Watching the creature depart the host for a midnight snack is a chilling visual, and Abramenko doesn’t ruin it with a lot of unnecessary cuts. He is a patient director that shows far more than he tells. Even when things are calm, like when our lead Tatyana (Oksana Akinshina) jogs around the compound, there is an underlining sense of dread. Knowing where this is headed doesn’t tarnish the experience or calm our anxieties. I got to give it up to Abramenko as he does an excellent job of building tension and respecting the genre.
We are aware of Konstantin’s (Pyotr Fyodorov) condition long before he does. Pyotr plays it likable and is generally in good spirits despite an alien curled up in his lower intestines. You know he’s f*cked, and his (maybe?) inevitable end makes this a sad journey. Doctor Tatyana Klimova (Oksana Akinshina) is here to save the day, hopefully, and it’s her performance that ends up being the highlight here. Commanding, tough, and straightforward, I love that she seems in control even when that isn’t the case. Fake it till you make it, dude. Oksana is one to keep an eye on. She’s the rock that grounds even the most convenient plot points from coming off nonsensical. Her cold, introverted demeanor was a refreshing switch from the standard heroic golden girl, which would usually populate the lead in these sci-fi movies.
What doesn’t work is that the script makes the dumb decision to add in a love angle. Pyotr and Oksana have great chemistry, but it’s more of a stretch that she would fall in love with a man unintentionally harboring an alien than the actual CREATURE ITSELF. Like, what is the plan exactly? Will they give it a name and teach it tricks out by their home in the Russian countryside? I’d buy it more if this were just a friendship built out of wild circumstances, but no need to have to pretty people fall in love, which brings me to my other issue, originality. SPUTNIK’S story is kinda by-the-book and owes a lot to ALIEN. The type of tale that doesn’t take any chances and heads down a familiar path. Some will say it’s “style over substance,” and I wouldn’t disagree. In the end, I can look past a slightly clichéd script if the acting, directing, and cinematography rises above it. Lucky enough for us, SPUTNIK pulls this off.
GORE: It is not as bloody as it should be, but we do get some sweet CGI blood sprays and a few good gory head wounds.
BOTTOM LINE: Sci-fi and horror are a perfect mix, like a dry sauna combined with a cold plunge pool (yea, I did it again). The only real missteps were it’s “been there, done that” script and forced love angle. But what this lacks in originality, it makes up with style. SPUTNIK is a gory, nail-biting good time that showed me that the Russians are a force to be reckoned with when it comes to cinema. SPUTNIK won’t change the game, but its quality and passion cannot be denied. Any genre fan will find something to love here. Nostrovia, my friends. Drink up!
SPUTNIK will be unleashed onto theaters, digital, and On Demand August 14th!
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