Two Syrian hackers decide to hack into Bashar Assad’s police servers, but eventually get more information of international importance elsewhere. Now they want political asylum in Europe in return for this information. The French government has instructed veteran mercenary Gabriel Delage to drive the hackers out of the country. (Vincent Kassel). At the same time, London is subject to a series of cyberattacks: attackers seem to have access to everything from the control system of the Thames dam to rail and aviation infrastructure. Alison Rhodey, adviser to the Home Secretary, takes over the case. (Eva Green), as it turns out, shares a common history with Delage.
Link, to his credit, manages to toy with it for almost the entirety of the first episode, subtly pretending to be a spy thriller about post-Brexit Europe. But at the end of the episode it turns out that the spy thriller is a good thing, of course, but in general, all these wonderful people gather here mostly for the sake of melodrama. The first doubts begin as the finale approaches, when Eva Green starts crying beautifully under Massive Attack’s “Teardrop” on a rainy London evening (and then plays a few more times). As a result, combining one with the other is not very successful. The spy part suffers. Along the way he will come to a rather crumpled, rather ambiguous conclusion (which, even more annoyingly, will not be difficult to calculate already in the middle of the distance), offering perhaps an uncomplicated “Brexit” from food for thought. bad”, but until then, it will force you to watch the noticeably old Kassel run a little clumsily through the streets pitting against cartoonish villains. The charge is apparently directed by Stephen Hopkins, a cinematographer with a motley filmography (from the second “Predator” to “24”) who has a habit of regularly making excuses for his impressive part.
In general, anyone who expects a strong stealth thriller from Svyaz should immediately be directed to the tab with the Israeli Tehran on the same Apple TV + – you can not get angry enough here. Those who are generally satisfied with this situation are unlikely to be disappointed. Green and Kassel regularly scold each other with electric looks, not every circular saw gets air in between, it seems that if they shorten the distance by a few centimeters it will either start “50 shades of gray” or light porn (spoilers: they won’t be throwing bed scenes). Otherwise, it would be monstrous, possibly vulgar, but artists around Green and Kassel pull even such material into the premium category; in a sense and here it turns out that you can’t get angry enough. Towards the end, it gets pretty hard to shake off the feeling that the people responsible for producing the show have long since lost all interest in the intrigue and spy cat and mouse. Frankly, it’s hard to blame them for this – at some point, all expectations from “Communication” really come down to the mantra: “Kiss. Kiss. I’m kissing already” and the love ballad that’s always stuck in the process Massive Attack of course doesn’t help the point. It’s here when people look at each other like that What really is the fight against terrorism?