Already this coming Thursday, the romance “(NOT) ideal man” will be released in Russian hire from the author of the film trilogy “Love in the Big City” and the tape “Grandmother of easy virtue” Marius Weisberg - a film in which Yegor Bulatkin, better known under the pseudonym Yegor Creed, performed its first major role.

Creed's hero is a humanoid robot assembled somewhere in Asia and sent for sale to Russia. Here a cyborg finds a bug. Defective goods represent great financial risks, and the stupid director of the distribution company (Maxim Lagashkin) is about to send it back. However, Sveta (Julia Alexandrova), who had just gotten into the company, persuades the boss to leave the robot.

A warm (and then vulgarly romantic) relationship is struck between the girl and the robot, and ultimately tired of the betrayal of her boyfriends and the lack of a normal personal life, Sveta decides to buy a cyborg. To do this, it takes millions from relatives, friends and banks.

From this moment on, the heroine’s life seems to be getting better: a bug implies that the robot (Sveta gives it the name Yegor) has the ability to empathize. So - now the chosen one of the heroine understands, respects her and cares about her feelings.

Only the 102nd error (that’s how the malfunction was diagnosed) has less encouraging consequences: Yegor sets up his emotional radar in the Light, reads out her fears and innermost desires, and acts in accordance with them. It turns out that Sveta’s problems in relations with the opposite sex are entirely her fault.

The love story between man and machine is far from new. And most of all the “(NOT) ideal man” has intersections with the Taiwanese television series “The Perfect Guy”. However, in the domestic version the already straightforward plot is diluted with flat humor, sloppy editing, ancient computer graphics and stereotypes about stupid pitching. By the way, Roman Kurtsyn, who was dreaming of getting rid of this role, was invited to the role of a nearby athlete. Fortunately, Kurtsyn again found the strength to laugh at himself, and thereby pulled the film a little.

Julia Alexandrova was also in the familiar environment. For some reason, her heroines are unlucky in luck - they often come across unfaithful men (remember “The Best Day”, “Year of the Pig”, “Mistresses”, “Call DiCaprio!” ...). Aleksandrova’s filmography is replenished annually, and the role for unclear reasons remains unchanged - a deceived woman.

Egor Creed, despite the fact that he only needed to once again enter his stage image, on the screen looked extremely unconvincing. It seems that they took him into this project only because of the large fan base (which, in all likelihood, will pay off the budget).

However, serious damage to the “(NOT) ideal man” is caused, oddly enough, not by Creed’s acting and familiar faces in already bored roles, but by endless scenario miscalculations and sometimes lack of logic.

The heroine of Alexandrova comes to the conclusion that it is easier to live with an understanding cyborg than with an ordinary man - traditional relationships will certainly disappoint her (at the same time, out of habit she will endure any humiliation).

But the android is not all right: over time, the heroine notices misconduct on his part, but behaves as if Yegor is an ordinary person.

  • Frame from the movie “(NOT) the perfect man”
  • ©

Sveta and Yegor talk about their love to the whole world (they start a YouTube channel for this and go for interviews with Olga Shelest), become popular bloggers and decide to get married in joy. These events are described cloyingly and clumsy. However, the film reaches a critical point of absurdity at the wedding itself, when Creed undertakes to explain to Sveta that his betrayal is connected with her negative expectations from relationships with men. Offended, but accepting the words of the cyborg as the truth of the Light erases the memory of the beloved and sends him back to Asia.

But the film does not end there. A small spoiler: the audience is waiting for an advertisement for the next single, Creed, inconsolable Alexandrova and a lot of unanswered questions. The most important one - how did it happen that Weisberg, who once believed that the director’s task was not moralizing, but qualitatively entertaining, inspiring and engaging the audience, for some reason completely forgot about his own beliefs and shot a frankly bad movie with dubious morality?