Nadya Gorina (Anna Savranskaya, who replaced little Vitaly Kornienko) has become quite adult and now aims for the “Ice Cup” that her late mother once never had. (Aghlaya Tarasova). But it didn’t happen that way: the problems that always bothered this family do not go away, and the girl is left without her coach (and, in fact, her second mother) Irina Shatalina. (Maria Aronova) — the mentor’s health does not allow him to prepare his mentee for competitions. Aging father Sasha Gorin (Alexander Petrov), Nadya, demoted from players to coach of the Baikprommash hockey club, is quite an obstacle: she no longer objects to figure skating in general, but still does not allow her daughter to prepare a dangerous program, she is worried. She repeated her mother’s fate.
Nadya’s only way out is rising hockey star Sergei Orlov (Stepan Belozerov)Rented by Baikprommash until the end of the season. Feelings quickly flare up among young people, but they must decide what is more important to them: love or career.
In the “Ice” trilogy, time seems to flow much faster, in the spirit of the movie “Interstellar”. We can say with certainty that the action of the first movie, released in 2018, took place at the same time, that is, in the second half of the 2010s, and mathematics was not of much use at that time. It seems that “Ice 3” (or “Ledz”, as the poster calls it) must have already decided not to be beautiful, distant and truly cruel – in any case, international figure skating competitions are quietly taking place in Russia.
But this timeline paradox explains why a franchise that started just six years ago already has a legacy sequel: part sequel, part remake; Old heroes pass the baton to new ones, and they find themselves in suspiciously familiar surroundings. situations .
On the big screen, Nadya Gorina (new) actually repeats the fate of Nadya Gorina (old) in many ways: she gets back on her feet after a serious injury, falls in love with a stupid hockey player, and refuses to give up on anything. Later, apparently, she will have to die in childbirth (it is not for nothing that we sang Basta’s song “Sansara” before), but apparently we will not see a complete transition of “Ice” to the slasher genre: with the new film they threaten to end the series.
In terms of semantics, everything also returns to its rather dubious roots: the first “Ice”, essentially by accident, released a soft description (or an ice show) based on the almost fascist “fantasy” “Temporary Difficulties”, improved by Ivan Okhlobystin. Saving his son from cerebral palsy through torture, the third “Ice” once again reveals the parallel between rivalry and disease, meaning that the latter is nothing more than an obstacle to be overcome if the desire is there.
Another idea that has risen from the dead is that one man can do absolutely anything, get a disabled person back on his feet with no medical training and train him for a gold medal with little understanding of figure skating. The important thing is to be dashing and greyhound enough.
Even behind the scenes, a reset took place: An actor once again sat in the director’s chair. The film by newcomer Yura Khmelnitsky turned out to be as sterile as the work of Oleg Trofim, the director of the first part. This is especially notable in contrast to the second film directed by Zhora Kryzhovnikov – of course it had a crazy premise and the premise had an equally violent development, but at least there was a sense of individuality and director’s style.
But Trofim’s career developed quite well: “Ice” earned 1.5 billion rubles and increased the budget tenfold, after which the producer began an affair with the series “Major Thunder” and, apparently, has no plans to stop. I think there is no need to worry about the preparations for the new “Ice”, but we will see what the fate of Khmelnitsky will be.
Of course, his first feature film has something to praise. Anna Savranskaya appears to be a major casting success. Returning for the first time since the original film, young love makes a happy impression in some places (and smells creepy in others, but okay). “If love lives in the heart”, which comes closer to the finale of Yulia Savicheva, is bound to stay in my mind for the next few days.
But other than that, this is a bit of a boring movie, unable to figure out how to deal with its strengths: they didn’t invent a new conflict for Petrov’s hero, it’s as if they dumped it in a diluted form from the previous movie (what’s up) about parental rights by the way? still unclear), hero Aronova pushed somewhere deep into the picture.
Well, since Khmelnitsky’s film insists on keeping the nostalgic feeling of the hit from six years ago, let’s play along. Now it’s even strange to remember: once the local free program was shifting to hellish covers of songs by Zemfira (known in the Russian Federation as a foreign agent) and the Ukrainian duet 5’nizza. Now instead, “Why Me?” They sing a heterosexualized version of the song. Duet “Tattoo” and “I’m Free”.