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David AyerKamera:
Gabriel BeristainMusik:
Graeme RevellBesetzung:
Keanu Reeves, Forest Whitaker, Hugh Laurie, Chris Evans, Cedric the Entertainer, Jay Mohr, Terry Crews, Naomie Harris, Common, The Game, Martha Higareda (mehr)Streaming (5)
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Detective Tom Ludlow ist ein kompromissloser Undercover-Ermittler, dessen unkonventionelle Methoden nicht bei allen Vorgesetzten gern gesehen sind. Als sein ehemaliger Partner Terrence Washington ermordet wird, steht Ludlow plötzlich unter Mordverdacht. Denn Washington soll intern gegen ihn ausgesagt haben. Verzweifelt versucht der Beschuldigte, den wirklichen Mörder zu finden. Dabei nimmt er es mit einem übermächtigen Gegner auf: dem korrupten Polizeiapparat von Los Angeles ... (ProSieben)
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Am Anfang ist dieser Krimi schön hart, am Ende wird daraus aber leider eine gewöhnliche Geschichte, deren Thema schon oft aufgegriffen wurde. Und besser dargestellt wurde. Im Finale hat man viel geschrien, was seltsam gewesen ist. Gleichzeitig haben Emotionen gefehlt, obwohl es sie dort wahrscheinlich ursprünglich geben sollte. Die Actionszenen waren aber gut, die beste von ihnen war die zweite Schießerei in der Wohnung. Hugh Laurie hat leider sehr wenig Raum bekommen.
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A story of necessary evil. Following Harsh Times, David Ayer has succeeded with another probe into the underworld of Los Angeles. Ludlow is a great dirty hero who reels out one off the cuff wisecrack after another, and Keanu Reeves is right at home in this strange cowboy’s boots. Forest Whitaker is clearly enjoying his character, and Hugh Laurie has easily shaken off his House image. In terms of the overall plot, it can jump from predictable situations to unexpected and downright surprising endings (e.g. shovel in the head). I admit to a little hesitation in my rating because it wasn't clear-cut. At first I considered giving it 4.5 stars, but this kind of movie is just my cup of tea, and in this genre, Street Kings is the best thing I’ve recently beheld.
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Relentless action, positive tough guys, and negative friends with a facade, that's always been my thing and will continue to be. Whether Keanu reminisces about past trauma with a suffering expression, furrows his brow while pondering the increasing number of corpses, or simply puts on a face that says "touch me and you won't have a hand", pulls out a gun and goes after everyone he doesn't like, I can't help but be amazed and humbled by the fact that this fast-paced and yet highly convoluted bloody corrupt affair can't be stopped. 90%
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David Ayer and the corrupt police (again?) in the suburbs of Los Angeles (yes, yes, again). This guy has proven himself both as a director and as a screenwriter. The second essential person for Street Kings is James Ellroy. He is certainly more than just good — that's an indisputable fact. Street Kings is like a cup of Turkish coffee. Although steeped for the third time in the same dirty mug where the grounds remained after Training Day and Harsh Times, only now it is the right kind of coffee: strong, dark, dense, bitter and, above all, shamefully delicious. But not everyone likes their coffee like that. To sweeten it up, they threw in sugar cubes in the form of perfect acting performances. Reeves, in particular, makes one forget about his recent dull performances, and Whitaker seems to be saying "sorry for the most ridiculous performance of my career in Vantage Point“ (but he's still pushing a bit too hard - he didn’t use to do that). Street Kings is on its way to being the Crime Movie of the Year, although judging by the feedback here, it seems I'm the only one who thinks so. It's enough to make me happy anyway. Five stars in the context of the genre, otherwise a strong four. I admit that there are a few hiccups here, but nothing that would matter very seriously in a crime movie. Next time, however, Ayer could try a different cup of tea. He’s far too talent to be tucked away in a one-genre box.
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David Ayer understood that as a screenwriter he had already exhausted himself with Training Day, so it was providence that advised him to shake hands with the neo-noir classic James Ellroy. The result is not particularly stunning, the traditional plot about the improved cop/asshole doesn't provide anything new and the director also doesn't do anything special in terms of the formal aspects. Yet the atmosphere of L.A.'s suburbs is literally dripping and the vivacity with which Keanu Reeves runs through the film is incredible. The clenched, pissed-off expression of the stubborn bulldog fits him perfectly and the viewer makes uncompromising cuts into the arm with him, of which there are many. This is Ayer's best film, but I’m not buying the negros, corrupt cops, and dark tough guys for the fourth time.
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