The Lone Ranger
The Lone Ranger
The Lone Ranger
Regie:
Gore VerbinskiKamera:
Bojan BazelliMusik:
Hans ZimmerBesetzung:
Johnny Depp, Armie Hammer, Tom Wilkinson, William Fichtner, Ruth Wilson, Helena Bonham Carter, James Badge Dale, Barry Pepper, James Frain, Leon Rippy (mehr)Streaming (5)
Inhalte(1)
Es war einmal im Land der Texas Ranger: Die Eisenbahn zieht ihren Weg in den Westen und verspricht Wohlstand und Fortschritt, doch sie lockt auch skrupellose Geschäftsmänner und grausame Gangster an. Als der friedliebende Anwalt John Reid in seine alte Heimatstadt zurückkehrt, ahnt er noch nicht, welches Abenteuer ihn erwartet. Dort will er den Job des Staatsanwalts übernehmen und seinem Bruder, Ranger Dan, bei der Verbrechensbekämpfung helfen. Sie stellen sich den Machenschaften von Bartholomew "Butch" Cavenddish in den Weg, doch nur einer überlebt den von Butch geplanten Hinterhalt - John Reid. Er wird von dem Indianer Tonto, aus dessen Sicht die Story erzählt wird, gefunden und wieder gesund gepflegt. Nachdem dessen Wunden versorgt sind, beschließt Reid das Gesetz in die eigene Hand zu nehmen. Tatkräftige Unterstützung erhält er dabei von seinem neu gewonnen indianischen Freund Tonto und seinem treuen Pferd Silver. Tonto und John sinnen, wenn auch aus unterschiedlichen Beweggründen, auf Rache - leider ist das so ziemlich ihre einzige Gemeinsamkeit. Da John offiziell für tot erklärt wurde, will er von jetzt an als maskierter Rächer Verbrechen bekämpfen. Sein Name: Lone Ranger. Von nun an wird nur noch nach den eigenen Regeln gespielt, schließlich muss die Gangster-Bande zur Strecke gebracht werden. (RTL)
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The most underrated blockbuster of the year. Admittedly uneven in pace, with occasional dullness in the middle passage and some forced humour courtesy of a goofy Depp, but otherwise full of playfulness, likeable exuberance, unprecedented production design and top-notch choreography in several action passages. And please, screw the fact that Depp is just recycling Jack Sparrow, I’m not going to deny excellent craftsmanship because of that.
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Great summer entertainment. It’s just a shame about those two unentertaining hours that precede it. Gore Verbinski is capable of building a more or less clear, gag-laden action scene, but he is incapable of combining the individual attractions into a sensibly cohesive whole. The entire film oscillates between paying tribute to and ridiculing classic westerns (from Ford to Leone, from whom the screenwriters stole the most), which leads to jarringly sharp transitions between affected heroism and infantile humour along the lines of Mel Brooks’s weaker parodies. The film doesn’t manage to find a balance between sentimental and grotesque; no idea taken from any distant genre is too bizarre (the eating of a heart, bloodthirsty rabbits) and no joke is too cheap (horse dung). The stringing together of various western motifs, which are derived either from individual films or from the conventions of the genre in general, lacks any higher order and comes across as being rather random. The film thus seems tediously long, or rather seems like it’s long only for the sake of being long. Because it lacks a coherent narrative that constantly refers to something, The Lone Ranger fails to draw the viewer into the story. It also isn’t helped by the fact that it follows a four-act structure with a gradual piling-up of obstacles to overcome and goals to be achieved (hunt down Butch; capture Butch and save Rebecca; catch Butch, save Rebecca and bring the other villain to justice). The protagonists do not undergo any character transformation, the motifs are either repeated so frequently that they lose their comedic value (e.g. the running gags with the mask and feeding a bird), or they serve solely for momentary amusement, and you don’t have to have the tracking skills of an Indian scout to figure out far in advance what “twist” is coming at any time in the course of the film. Though the climax is excellent in and of itself and recalls Buster Keaton’s best moments, it snuffs out all of the storylines with pointless action that doesn’t resolve anything and that could have been placed anywhere else in the film (ideally right at the beginning, so you could leave the cinema feeling that you had already seen the best part of the film). The film establishes an alibi for its excessive ambition and capricious disjointedness by constructing a flimsy retrospective narrative framework (whose benefit to the narrative is best expressed with the word “gimmick”). The type of listener (a young boy fascinated by western legends) and the narrator’s inability to sustain an idea correspond to the film’s flitting between humility and belittling of the genre. Due to the infrequent and unoriginal inclusion of metatextual remarks, I don’t believe this was a premeditated plan, but rather a desperate attempt to retroactively build a cohesive a story that didn’t really hold together. Tonto’s cleaning up among the other fairground attractions at least captures how the once-revered western genre is perceived today. The western legend has become a relic recalling the Wild West era. The fairground-attraction nature of Tonto’s new role logically requires that what he had experienced be reduced to the most distinctive features of the given period. Tonto’s story can thus be understood as a "best of" compilation of what makes a western a western, but that was previously covered by the story of Little Big Man, which had a much better screenplay and a protagonist who underwent much greater development, and whose narrative was motivated by the revision of certain western myths. Conversely, The Lone Ranger is a regressive (the woman as a beautiful, passive and defenceless object) and incoherent exhibition of what some people in Hollywood think of when they hear the word “western”. 55%
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An alternative to the Pirates of the Caribbean. Same director, same music, same Depp and, surprisingly, also same Helena… on the other hand the setting is different, which is good. I’m really glad that Johnny Depp agreed to play the Indian in this movie. He’ll probably play weirdoes to the end of his life, because from what I see, he’s really found himself in these characters. I went to see this movie to have fun, relax and enjoy a nice adventurous movie that will make me laugh but also put me in awe over some of its action scenes. The actions scenes here are a bit on the weaker side, because they reek of CGI something terrible, but I guess it couldn’t have been any other way. Despite this flaw, the action is good and the movie is enjoyable. As a Disney product, this movie met my expectations to the fullest. The 151 minutes flew by as a one-day trip around the country. And I must say that it was a joy to spend time watching this movie, turning my brain off and enjoying some decent fun.
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Little Big Man raucht mit den Pirates of the Caribbean und einer stummen Groteske eine halluzinogene Friedenspfeife. Ein Film, der aussieht, als erzählte ihn ein seniler verrückter Indianer ... weil er eben von einem senilen verrückten Indianer erzählt wird, der außerdem sich selbst noch gerne zuhört. Die mittlere Passage wirkt etwas taub, aber sonst habe ich es genossen. Verbinski ertrinkt manchmal in seinen geliebten Referenzen, jedoch die "Meta-Westerns" sind cleverer als die meisten seiner Genre-Konkurrenten. Dieser Kerl ist ja nicht Tonto.
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Cowboys and Indians for the twenty-first century pulling out all the stops; the bad ones and the good ones. And the dozens (dozens!) of neat, not immediately obvious allusions (the cicadas and the birds in the bush, the umbrella in the desert etc.), paradoxically more than in Rango, prove better than anything else that the creating team didn’t treat this as just another product. And, yes, this is unarguably “just" the Pirates of the Caribbean in Western garb. However, it should be said that, along with the first Pirates, this is the best to come out of that “series".
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The Bruckheimer filters rather spoil the otherwise convincing western atmosphere served up to us so successfully by Verbinski. The struggle with this childish, sometimes infantile and senile (the narrator forgets to tell us all the details because he’s an old, crazy grampa) story is uphill. Good ideas here and there and the absolutely amazing train chase save the reputation of this movie. Hammer doesn’t stand out, Depp doesn’t disappoint and the only performance rally worth remembering is William Fichtner as an unscrupulous bad guy who laughs through his teeth. Zimmer’s music is again the tops and you can tell that he really enjoyed doing this movie.
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Eine genreübergreifende Hommage an ein Jahrhundert des Films? Der rassigste Western mit den klassischsten Vaudeville-Gags? O ja. Ein großer Raubüberfall auf einen Zug und leichte Mädchen, die sich nicht einmal Méliès hätte ausdenken können. Oder Höllentour durch die Linse eines Comic-Helden und den Fortschritt betrachtet, den man nicht aufhalten kann, selbst im Jahr 1933 nicht (damals konnte man mit Beschreibungen so spielen, dass Tonto zu einem berühmten Wilden wurde). General Custer hält seinen Narzissmus jederzeit im Zaum, die äußerst hässliche Jane Eyre Ruth Wilson ist ein bisschen erwachsen geworden, Armie Hammer ist ein würdiger Nachfolger der "Lone Rangers" (seit den Hörspielserien, Romanen, Comics und mehr von 1933) und natürlich sind Tom Wilkinson und Helena Bonham Carter absolute Klassiker. Und Hans Zimmer schämt sich nicht, eine ganze (!) Wilhelm-Tell-Ouvertüre und ihr Finale in den Soundtrack zu stopfen.
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It looked it’d be a real dud, but it’s watchable. Those who were thrilled by Pirates of the Caribbean or Indiana Jones and the Kingdom of Crystal Skull will certainly not be bored, as this film is similar both formally and aesthetically and in terms of the plot. It certainly has a unique mix of traditional Western elements (set design, costumes) perfectly matched in an excellent visual package (great effects, dynamic action scenes). The middle part of the film has are several redundant funny scenes and boring stretches, but William Fichtner and Tom Wilkinson are very entertaining, and the main duo of heroes is a classic. So, it’s fun though not impressive, and everyone knows how it will end from the beginning. Still a likable thing, though.
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Ich weiß eigentlich gar nicht, wann ich mich im Kino so herrlich amüsiert habe. Gore Verbinski ist seinem Ruf als Regisseur mit Größenwahn und Sinn für Humor gerecht geworden, wofür ich ihm sehr dankbar bin. Genauso dankbar bin ich ihm für die vielen Verweise (nicht einmal Tarantino ist es gelungen, in all seine Filme so viele geschmackvolle Verweise auf Leones Filme von Spiel mir das Lied vom Tod über Zwei glorreiche Halunken bis hin zu Todesmelodie hineinzustopfen; und das ist nicht alles – es kommen auch Verweise auf The Wild Bunch - Sie kannten kein Gesetz und viele andere Genre-Klassiker)! Die Geschichte hat alles, was sie haben sollte, und ist auch für diejenigen gedacht, die Lone Ranger überhaupt nicht kennen. Die Schufte sind wirklich böse, die zwei Haupthelden sympathisch und ihre Wortgefechte und Schießereien ausgezeichnet. Jede Grimasse von Johnny Depp ist unbezahlbar (die Kritiker*innen können sagen, was sie wollen). Das Finale "Tonto auf dem Zug“ ist fesselnd, unglaublich einfallsreich, witzig und spannend. Ich kann aber auf gar keinen Fall denjenigen zustimmen, die behaupten, dass ihm zwei langweilige Stunden vorausgehen. Bäh. Ich würde viel lieber einen zweiten Teil von Lone Ranger als Pirates of the Caribbean: Salazars Rache sehen. Die Piraten sind nämlich ohne Verbinski schon einmal gescheitert. Vielleicht geht mein Wunsch in Erfüllung…
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Exotic and beautifully shot summer bollocks. Depp is a lot of fun and Hammer is alright, but neither of them, nor the cookie-cutter script are enough to keep us interested for almost two and a half hours. It's a breezy and brilliantly scored adventure for the whole family, but it's cold as a penguin’s butt inside and relies too heavily on the fact that we're still interested in Depp's peculiar pirate character – very little from Verbinski. A better 3*
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The story is not bad, but it is a little too drawn-out. However, all elements that defined the Wild West are well depicted - beautiful landscapes, wooden towns, railways, Native Americans, Chinese people, the relationship between white people and these minorities, the desire for gold, I mean, silver, etc. In this aspect, the film cannot be criticized much. It is also entertaining, which is good, but it is all very straightforward, the film tries too hard to please, it literally forces itself on you, so in the end, it will be one of those that you watch, have some fun, and forget about. It's a bit of a shame because the story has potential, just like the main character, but it would need to be approached differently for today's time. More: http://www.comics-blog.cz/2013/07/174-osamely-jezdec-2013-60.html
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A strange mix of the grandiose and the grotesque, but one that works quite well. Johnny Depp is already a bit in "Sandler" mode here, but he basically fits his character's template to a tee. Gore Verbinski is a well-practiced megalomaniac, but compared to the likes of Michael Bay, he can actually be quite original and I don't get a sense of annoying repetitiveness in his work (which I often do with Bay). [75%]
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Also das klappte genau wie erwartet. Der Film sieht gut aus, aber wäre das Budget um 100 Millionen Dollar kleiner gewesen, würde es genauso ausgesehen, gäbe es nicht die Komplikationen, von schlechtem Wetter bis hinzu Verbinskis Extravaganz. In den ersten zwei Stunden passiert nicht viel Lustiges. Die gelegentlichen Witze sind meistens dumm ohne Idee, die Handlung hat keine unerwarteten Wendungen und es gibt allgemein überall übermäßige Intrigen. Erst in der letzten halben Stunde nimmt es Fahrt auf, die den guten alten Piraten ebenbürtig sein könnte. Die Zugszene hat wie frühere Seeschlachten eine Ladung, aber dem Rest des Films fehlt es in jeder Hinsicht verzweifelt. Auch bei Zimmer kam es mir vor, als wäre er die ganze Zeit schlampig gewesen und erst am Ende beim „Finale“ ging es ab mit Wilhelm Tell.
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Verbinski has officially lost his sense of proportion, and, honestly, who can blame him? Disney provided him with a budget the size of Somalia's annual budget, and Verbinski splurged it all on digital effects that are beyond saving. And if there was anything left, he transferred it to Depp's bank account, which means everyone is happy. Depp is an excellent actor. His astonished look, straight out of the Pirates of the Caribbean, is just awesome and some of his lines (especially in connection with the horse) are good. But his overall performance (actually, the whole movie) felt terribly artificial. Anyway, 151 minutes? You’ve gotta be kidding me. The first hour was the most boring hour of the entire 2013 film year and the rest of the movie was below average. Some scenes were downright embarrassing (bloodthirsty rabbits, oh, come on!). All the scenes with Bonham Carter were the most tedious moments of the whole movie, only confirming that I’m really not fond of this actress). Plus, it is obvious that the movie purposely didn’t reveal certain things to keep the door open for the second installment, but that was a gross miscalculation on the part of Verbinski and the Disney studios. And if it wasn't intentional, it was some seriously sloppy directing. Either way, I’m afraid we have the winner of the biggest flop of the year.
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