James Franco at the end of 2017 decided to slow down with the development of his career, but managed to participate in so many projects that the films with him continue to come out by inertia. True, the vast majority of them (with the exception of, perhaps, the noise in the award-winning season of "Woe-Creator"), differ in quality rather doubtful, which is not surprising - in fact, Franco rarely limits himself to acting, simultaneously speaking in the image of (co) (co) director and, slightly more rarely, (co) script writer. Do not be an exception and the "World of the Future", in which he paired with his frequent operator Bruce Thierry Chung trying to build his own budget homage to "Mad Max" and others like him, but in fact he simply removes another mediocrity.
The conditional desert terrain appears on the screen in an image (as it is not difficult to guess), the world of the future, which experienced the next world war. The commander (Franko's teeth) at the location of a factory looks for one of the last surviving feminine synthetics (apparently stolen from the set of the "Bad Party" by Suke Waterhouse), and now is in a joyful excitement at what he finally got "Rosurosuchku." At the same time, somewhere in the area called Oasis from fever, the Queen dies (the horizontal cameo by Lewsey Lew), and her son Prince (absolutely gray and unknown to anyone Jeffrey Wahlberg), along with the brothers, goes in search of a cure for illness and disappointment from a rapidly degrading civilization.
"The World of the Future" is as original as its name, with its clichés warning the viewer in advance of those "beautiful" plot twists and turns that await him ahead. Franco and his companions are not particularly bothered in the terminology, creating on the screen mythology so conditional that its existence at some point may seem like a fiction of the beholder. General, Prince, Queen, Dead Sea, Neon Forest, Paradise Beach - all this, of course, is easily remembered when viewed, but then completely disappears from the head, as well as the events occurring here. And the reason for this is not only the weakness of the plot, but also the exclusive passivity of the image of the protagonist, which is always inferior to the palm of the screen championship, the notorious grief-creator, Snag Dogg, engaged for filming, then Mille Jovovich on spids - in other words, to virtually any parallel character appearing in the frame .
In the background, there are unsystematic and dull attempts to play ultra-violent, it shines with a heterochrome look of Waterhouse and the rented motorcycles are beating - in general, the post-apocalyptic future is diligently realized. In the end, all these indistinct relationships between a guy and a robot within the boundaries of the metaphysical frendzone and at all begin to resemble a drunken version of the "Turbo-boy". However, despite all attempts to step aside the trash, the film remains a dull trifle, in which Franco beats women, women beat Franco, Jovovich habitually does not forget to put the marathon in the midst of the ruin, and robots are rapidly aware of their elevated humanity and are cultivating love, which, of course, can conquer everything. But in this case, it is practically of no interest to anyone.