Young Kirill is among the most talented programmers in all of Moscow, appreciated by colleagues and engaged to the beautiful Anna. One evening, after arguing with the girl and attending a work party, the protagonist returns home only to find her busy by a charming blonde woman.
The latter claims to be the owner of the property, with documents confirming her version and the four walls totally different from what Kirill remembered them only a few hours earlier.
Taken aback, Kirill discovers the following day that they all loved ones seem to have no memory of him and to have been chosen by a mysterious organization that has the task of managing the balance between parallel worlds. Made immortal and endowed with incredible powers that allow him to opening new portals towards completely unknown realities, the boy will risk everything to reconnect with those he loves.
On guard on guard
Russian writer Sergej Luk'janenko is known to the general public for his acclaimed saga of Cycle of the guardians, also published in Italy and already transposed to the big screen in fluctuating quality productions.
Although similar in the Italian title, Guardians of the Worlds is actually based on another novel, distributed on these shores as The tower of time. The atmospheres remain on the fantastic aura even if we are faced with a more complex and stratified story, potentially capable of opening interesting questions that refer to many typical ideas of modern sci-fi.
In the film adaptation something has been lost at the narrative level and it is no coincidence that it is really the screenplay is the weak point of the two hours of viewing. For much of the film, in fact, events take place in a hasty and confusing manner, preventing the characters and their real motivations from emerging clearly.
The creator of universes
It is no coincidence that it is script has been co-edited, including by director Sergey Mokritskiy, since there is an incessant accumulation of ideas and situations that prevent the whole from finding its own precise identity, nullifying even those potentially more interesting subplots on paper in the bud.
Available in the Amazon Prime Video catalog, Guardians of the Worlds puts too much meat on the fire and simple suggestions are not enough to build an effectively satisfying system, with flames here and there trying to reinvigorate the general chaos. Between romantic subtexts, references to communist dictatorships - strange that the indigenous censorship has not intervened in this regard - and marked references to dystopian futures seen and reviewed in the vein, the operation looks for a thousand personalities to find none.
The mediocre performances of the cast do not help to identify with the characters, tossed here and there in an often casual way, and the special effects, barely discreet, try to reinvigorate the rhythm a little in the action sequences, with a pleasantly sculpted taste in the design of the matryoshka robots that hunt down the protagonists.
The impression is that of a bizarre amusement park of excess, where the visual and conceptual imagery bypasses everything else in an attempt to cover up the macroscopic underlying defects, unfortunately with poor results.