So, the quality of CGI and special effects coming out of Russia on tiny budgets compared to the engorged Hollywood blockbusters is excellent. The storyline was also well-paced and several sub-narratives kept pace.
For a non-Russian, the narrative of the donated toys for an orphanage being put onto a rickety cargo plane by the benefactrice is revealing of the degree to which humanitarian aid may be more due to personal initiative than a mega-charity or the State; it is also telling that the distribution and transport seems to be not as taken for granted as in the US; that's hardly surprising for a country that's the largest in the world but "only" 144 million inhabitants; much internal distribution must be by cargo plane since a dense road or rail system would not be economically feasible.
The lead, Danila Kozlovsky, is a fine actor who is also extremely handsome, as if he had stepped out of an idealized comic book. He is an attractive brunet in the style of a young Olivier Martinez of France. If he were fluent in English, he could be a star in the West, not just in Russia.
Now - nothing to do with the film - the English dubbing was only "acceptable".
1. The mix of English accents is odd, a mix of Estuary English and various regional accents that are mixed in an unnatural manner. If the dubbing company cannot accurately cast the accent actors to reflect British society, it should stick to a General American accent, since there is little of the socio-economic and highly regional character found in Britain (where there is NO majority vernacular, even today). It's just make the dubbing "false" to British viewers.
2. The English translation of the Russian dialog was "sub optimal" with mouth movements not corresponding to the English dialog. Before anyone thinks I am too harsh, I wish to point out the one country where films are shown both in "Original Version" and "French Version". Dubbing in France is of superb quality, and not cheap:
a) The translated dialog is reworked so that the duration, syllabic delivery, and the culturally-appropriate terms are correctly interpreted. If you see a French dubbed version of an American film, you are struck as how well the facial movements and expression matches the French dialog. This means that the dubbed screenplay required someone skilled in linguistics, body language, and non-verbal interpretation (as much of "language" is dependent upon gesture and inference.)
b) There is one French actor who dubs for one foreign actor. The French actor may dub for several foreign actors, but each foreign actor is assigned the same French counterpart. When you see the process of dubbing in France, the entire body language, tone and expression is uncannily reminiscent of the source foreign actor's performance. This means that foreign "stars" are coherently recognizable and marketable on a speech - vocal basis. Again, this required much training and practice; the more one dubs a given foreign actor, the better the result. This means that the designated French interpreter/actor gets royalties on the French dubbed versions, and that no one else is allowed to replace him without a specific authorization.
Personal Comments of a fluent bilingual, long resident in both France, the UK and the US:
It is very odd to see the French version of the UK (Peter Sellers) or US (Steve Martin) Inspecteur Clouseau films. In English, he has a "French" accent, so, the French version doesn't sit naturally, as he is given a weird, oddball manner of speech; in some ways, the populist imagery of the stereotypical qualities embodied in Inspecteur Clouseau is irrelevant to French viewers, much as Fawlty Towers (John Cleese) uses English accents that most Britons do not have.
Many blockbuster American relationship-based films are adaptations of successful French films. The Birdcage (set in South Beach with Nathan Lane and Robin Williams) is an interpretation of "La Cage Aux Folles" (St. Tropez with Ugo Tognazzi and Michel Serrault); Sommersby is an interpretation of "Le Retour de Martin Guerre"; Three Men and a Baby, of "Trois Hommes et un Couffin" etc. So, the dubbing of the American interpretation of a French film is going to end up with an entirely different "feel". There are many human story film themes in France that make it, but in the mass market calculation of US cinema, such themes face the prejudice of being "chick films".
