Regie:
Spike LeeDrehbuch:
Russell GewirtzKamera:
Matthew LibatiqueMusik:
Terence BlanchardBesetzung:
Denzel Washington, Clive Owen, Jodie Foster, Christopher Plummer, Willem Dafoe, Chiwetel Ejiofor, Kim Director, James Ransone, Peter Gerety (mehr)Streaming (5)
Inhalte(1)
Es ist das perfekte Verbrechen: In einer New Yorker Bank verschanzt sich Dalton Russell (Clive Owen) als Kopf eines Gangster-Kommandos mit Dutzenden Geiseln und wartet seelenruhig ab, bis die Scharfschützen der Polizei Position beziehen. Detective Keith Frazier (Denzel Washington) erkennt bald, dass für die Bankräuber alles nach Plan verläuft und ihm in diesem Spiel lediglich eine Statistenrolle zugedacht ist. Als sich die mysteriöse Madaline White (Jodie Foster) in die Verhandlungen einschaltet, beginnt ein gefährliches Katz-und-Maus-Spiel, in dem es um weit mehr geht, als um einen Bankraub... (Universal Pictures Germany)
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Nach dem zweiten Mal erhöhe ich die Bewertung auf 5*. Inside Man ist so elegant wie der Anzug von Denzel, den er im Finale anhat. Es ist ein bewusster, intelligenter und unterhaltsamer Film über einen Bankraub, der keine Gewalt (und keine Gewalttäter) braucht, um geil zu sein. Im Gegenteil – der Film kritisiert die Gewalt treffend (die Parallele zum Actionspiel auf dem PSP-Display vom kleinen Schwarzen). Die Schauspieler*innen genießen ihre Rollen in vollen Zügen, Spike Lee und Brian Grazer (dem ein Budget von unglaublichen 45 Millionen US-Dollar reichte) sind echte Meister und die Abschlusskomposition "Chaiyya Chaiyya Bollywood Joint" ist ein perfektes Tuning von Emotionen aus dem Film.
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The perfect heist? Yeah, right! Rather, in terms of logic, a perfectly haphazard xth variation on the bank robbery. Logically leaky both in the point of the action of the robbers, however spectacular, and in the actions of the bank boss (who was he saving the compromising materials for?). The fact that Spike Lee once again stood his ground is a poor excuse. I was pleased with his subtle political allusions, although they were not nearly as strong as Norton's confession in 25th Hour, I was pleased with his sense of black humour, and although the film moves along briskly and doesn't get boring, I definitely expected more from a filmmaker with such a big name than just a wannabe spectacular and contrived story.
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Overcomplicated and yet unfinished. Spike Lee's storytelling style just doesn't sit well with me. After 25th Hour, he couldn't capture my attention in the first half to deliver an almost beautiful ending. This was mainly aided by the brilliant Clive Owen, but otherwise, this piece in its omniscience and supposed lightness failed in a striking way.
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Luckily Spike Lee hasn’t drowned in commercial waters and managed to film a very pleasant and intelligent picture that he worked some moments from his previous works into. The screenplay starts off with an excellent idea, which makes it all the more surprising that in the end it is the screenplay that is the weakest aspect of this movie, because it isn’t enough for over two hours of running time. Luckily this isn’t completely obvious when you are watching, thanks to Spike, the absolutely perfect casting and a very successful balancing on a knife’s edge between thriller and comedy. Overall, very good, but for me The Negotiator remains the “king" of this type of movie.
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Spike Lee is a genius! A genre film thought out to the last detail, shot with clarity (Matthew Libatique's amazing cinematography, editing, the scene composition) and insight (wit, great allusions to the atmosphere of New York 5 years after 9/11). Thanks to the artfully inserted details, cuts, and masterful work with fabrication, the film is above all known standards. For the majority of the viewing public, it is an overly verbose and desperately inactive affair, but for those who can read between the lines of this most distinctive African-American in Hollywood's director's chair, they will understand that there is no robbery like a robbery and the sins of youth are not forgotten even after sixty years. Thanks, Spike!
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