Netflix doesn’t make art; He makes products. They may pretend to be prestige by spreading the amazing artistic expressions of famous filmmakers – such as this year’s contender for the best film, The Power of the Dog – but it’s just a smokescreen. It’s a trick to try to get consumers to think that the company is committed to creating great works of art. In fact, the ones that bring in the most money, the most publicity, and the most attention are always safe, uninspired films that end up leaving no cultural mark unless they become mem.

The Adam Project, the latest in this endless factory line of boring corporate fever, seems to have been created by an algorithm. This is a combination of the worst in creating blockbusters over the past 5-10 years. Stupid pop songs that ultimately add nothing to the scene? Check it out. Dexterous, trying to be a clever joke between characters, even if it doesn’t match the characters or the tone of the scene? Check it out. Lighting, editing and composition of pictures that make it more like a TV show than a movie? Check it out. It never feels like some real choice has been made. Any decision as to how a film looks or was written seems to have been predetermined by the computer long before it began.

Lack of risk really becomes a problem in the story. For a film so focused on the plot, one would think that its narrative structure would be a little more intriguing. Indeed, the premise – a science fiction adventure that travels through time, where a person returns to the past to meet his young – seems to be rich in interesting twists, as it was in other films such as Ryan. Johnson «Buttonhole». Instead, it denotes a very basic three-act structure that strikes the story and emotional shocks we’ve seen a million times before. It’s safe. This is predictable. It’s sad. There is nothing wrong with this plot structure, but if there is almost nothing interesting thematically in the film, it really makes you wonder why it is first of all it was necessary to tell a concrete story.

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