Lost in Space 4K 1998 Ultra HD 2160p

Story Movie

The action takes place in the year 2058, when people have no more than twenty years to live on Earth - everything has been exhausted. An outstanding scientist John Robinson and his family are sent on a super-modern starship to the distant planet Alpha Prime, suitable for habitation, to build there a hypergate through which the evacuation of mankind will be carried out. Extremists send the insidious Dr. Smith aboard to destroy the Robinson family and the ship itself. Accidentally staying on the ship to avoid being killed, Smith wakes up the Robinsons and Major West, a dashing combat pilot. To avoid collision with the Sun, the Major turns on the hyperdrive, and the starship is lost in a hitherto unknown part of space.

Review 4K Movie

In the second half of the 1990s, the space fiction genre, apart from the immortal, endless Star Trek, hit the audience with a new wave: popular series such as Babylon 5 and Stargate SG-1 were launched and continued; one Paul, Verhoeven, freely adapted Harlayne's Starship Troopers into a sustained brainwashing totalitarianism, while the other Paul, Anderson, sculpted a decent space horror film with an original idea, The Fifth Element, and, of course, Luc Besson made the truly cult film The Fifth Element

Lost in Space is a film from the same tribe, a light adventure film with undertones of the future and journeys through the universe, as well as its boundless unknowns. Reminiscent of the cult film released a year earlier, The Fifth Element, the film starts with a serious problem for all of humanity—the complete depletion of our home planet's resources and the destruction of its ozone layer to conditions unacceptable for humans, and on top of that, some terrorist rebels are running rampant. Something has to be done.

In such unfavorable circumstances, a clever scientist, who is also the “father” of the hyperdrive and hyperspace gates, decides to relocate to a planet that has been discovered and is suitable for humans, naturally without asking the rebels and leaving them behind. Who needs them? And here's the most interesting part: you can't just take possession of a new home, because a “blind” hyperspace jump without a gate can throw you anywhere, to any corner of the unknown universe. A gate entrance has already been built in Earth's orbit, and there, in the orbit of the new colony, an exit must be built. It seems like there are no problems — we'll fly there and build it (we'll fly for a decade in classic cryogenic sleep), taking the whole family with us (apparently, the dream of being the first family of colonists keeps them awake at night).

The family is quite colorful: the father is a genius, the mother is an informal leader, one daughter is a doctor and a workaholic, the other is a teenager who openly ignores her father's venture, and the son (guess who) is a genius. They are joined by a hired army pilot, a fool, who is friendly and doesn't stand out from the crowd, persistent and straightforward, just the eldest son in the family (well, one boy in the family is a genius, and the other is always... well, as in the simple folk proverb), if not for the love story with the eldest daughter, without whom nothing is possible. Matt LeBlanc, the world-famous Joe from the series “Friends,” looks good, and at times convincing, in this role, even despite his century-long stay in the series.

Also, quite by accident, both for him and for everyone else, a terrorist agent (well, they're not going to sleep) gets on the super ship and stages a provocative diversion on board with the aim of giving the rebels the upper hand in colonizing the planet. The saboteur, who is also another doctor on the ship and an acquaintance of the family, is brilliantly played by Harry Oldman, who stumbled into the project. This is yet another reason to be convinced of this actor's talent and versatility. He plays some of the most charismatic villains.

The film deserves praise for its excellent graphics and decent design for its time, and a pat on the back for its truly interesting plot, but it should be criticized for arrogantly diluting the script with long and tedious family twists and turns. Everything would have been fine if Oldman's character had been given more screen time, but despite the audience's high expectations, this does not happen, except perhaps towards the end.

The soundtrack is so typically adventurous that, whether you laugh or not, it resembles the music from Indiana Jones — the same epic, grandiose work, but it doesn't always sound appropriate. And it ranks far below John Williams' immortal work.