Deepwater Horizon

Das Drehbuch ist direkt, aus handwerklicher Sicht ist es eine ausgezeichnete Katastrophenhölle, ein wenig klischeehaft, aber mit einem emotional würdigen, eindrucksvollen Ende. Für mich ist es der erste Katastrophenfilm, der so intensiv war, dass ich ihn nicht noch einmal, nur wegen dem Genuss der Filmarbeit, sehen möchte. Wahlberg als "volkstümlicher Held aus der Vorstadt“ funktioniert wie immer, Kurt Russell als verantwortungsvoller Chef der Arbeitergruppe ist der beste im Film. Und John Malkovich überzeugte wahrscheinlich das hohe Honorar. Zu seiner Rolle des rücksichtslosen Konzernmenschen würden meiner Meinung nach andere Schauspieler besser passen. Sie müssten auch nicht so bekannt sein. (30.09.2016)

I don’t understand much, but I think they should have kept a log of the concreting. (01.10.2016)

Another reason to cut down on driving your car. And I have to admit that I am really glad that this movie was made. Without embellishment, it shows absolutely precisely what interests BP had on the oil rig and how the company was willing to literally walk over dead bodies to achieve its interests. The film as such then quite intensely and relatively exactly depicts the disaster as if it had been filmed by Greengrass himself. Not only was the film expensive, but you can really see it was. And that’s despite the fact that sometimes it feels like the camera was attached to a merry-go-round or a rollercoaster. But that actually serves a point as well. It amplified the atmosphere in order to make the viewer think as if they were really on the rig with the rest of the actors. And there’s no doubt the authors managed to achieve that effect. I was as confused as a forest bee and the only thing that could put me to a similar level of confusion that Mark Wahlberg experienced on the screen was the series of explosions, which I could survive through a certain coincidence. The only reason I didn’t give the movie a five-star review was that there is not a single character the viewer could really identify with or root for and that’s despite the fact that Mark Wahlberg, Kurt Russell and John Malkovich all put in absolutely excellent performances. Mark actually puts in a standard patriotic performance, whereas Kurt and John are trying to compete for the worst American accent and the best acting performance. And they both succeed. At the end, you get a smaller load of traditional American patriotism, which on the one hand is terribly obvious, but on the other hand, I actually don’t hold it against them. The afterword is pointless, but it’s necessary for American viewers. Other than that, it was great… or rather terribly sad. The more money we have, the more liberties we are ready to take with our mother Earth. The question is how much longer this can go on… (30.09.2016)

Die Arbeiterklasse war noch nie so scharf und sympathisch, wie bei Mark Wahlberg und Kurt Russell, so dass es mir nahezu Leid tut, dass die letzten Fotos der aufgeblasenen Texas Rednecks diese Illusion brechen. Lassen wir doch aber von marxistischen Witzen ab - Berg atmet hier tief ein, um hier die Top-Leistung seines Lebens zu erreichen, wobei insbesondere die erste Hälfte dank den geschmeidigen Dialogen, der Schnittarbeit sowie der manuellen Aufnahmen unheimlich schnell abläuft. Das darauffolgende flammende Inferno zeugt bereits dank seiner frenetischen Schnitt- und Detailkadenz (das wäre Paul Greengrass niemals untergekommen), doch es ist immer noch ein ausreichend wärmespendendes Spektakel, damit wir auch den endgültigen Zusammenbruch eines gewöhnlichen Menschen genießen können (nach Captain Phillips ist dies allem Anschein nach eine neue Pflichtfigur in zivilen Katastrophenfilmen). DH ist eine Ode an den gesunden Menschenverstand und zeitgleich ein faszinierendes Spektakel, bei welchem Mark Dinosaurier aus der großen Tiefe bändigt und Kurt Fett wiederum die schmierigen Hervorquellungen von British Petrol unter Kontrolle bringt. Meiner Ansicht nach, ist dies ein guter, purer Spaß mit klaren Grenzen. (30.09.2016)

A conflicting mix of two completely incompatible approaches, coldly procedural movie with a Greengrass patina and biased "trade unionist" black and white in terms of characters. There are only two types of characters: hard-working good guys/heads of families, the only dirt on their character is grease (but it must be acknowledged that the Wahlberg / Russell duo manages this mode with honor) and viciously villainous white-collar management, which knows nothing and doesn't understand anything, casting menacing glances, counting every penny and making money from working rabble. Thanks to this polarization, it finds easy, unrealistic "who is to blame" solutions, which shamefully dulls the procedural line, which is otherwise presented excellently and credibly in itself, and is the film's strongest point. The final disaster (not catastrophic) third is appropriately impressive and properly explosive, but so frantically edited, when one shot follows the other even before the first ended, that this lack of clarity (probably intentional) almost make the viewer dull. On the whole, rather disappointing, from such a major event as the disaster at Deepwater. It would definitely have been possible to make more out of it than just a just a decent movie covering at the same time two different genres. (04.01.2017)

A catastrophic inferno that looks great. Peter Berg combined sweet sweeping camerawork and breathtaking explosions with a dignified memorial to the worker or his superiors who got killed or maimed for money, money, money. Criticism of contemporary corporate thinking isn’t really the crux of this movie, but, as we find out in the end, Malkovich is just the type of slippery bastard who is guilty on all counts, but who get away Scott-free. Carnahan’s targeted screenplay that concentrates on facts, Berg gives us the occasional visual gem: for instance, the shot of the American flag with the burning oil rig in the background, or the shot of Kate Hudson’s butt in panties (just hugging daddy Kurt), but the finale is a homage to all experts. Engineers, maintenance men, foremen, bosses who got their job on the basis of their experience and not from sitting on their asses. A very good job. I’m content. (06.10.2016)

Awesome spectacle. The opening 20-minute handheld camera shot, which looks like a semi-documentary about blokes on oil rigs, is perhaps even cooler than the occasionally slightly stereotypical and frenetically edited banging and destroying everything possible and impossible. Kurt Russel and Mark Wahlberg are both top-notch, in roles that fit them perfectly, so almost everyone will be rooting for them. A minimum of pathos and a decent portion of unadulterated emotions speak for Berg. I think this is a decent tribute to another catastrophe that affected millions of people. It’s not as precisely documentary-like as United 93 for instance, but it’s not nearly as pathetic as the likes of World Trade Center. (02.10.2016)

Working on an oil rig must be a very rewarding experience. When everything is going smoothly, you twist the cap of the pipeline a few times, pump the crap that is as repugnant to nature activists as a bucket of absinthe is to teetotalers, and you get an outrageous amount of money for it, and in your free time you worry only about how to best refit your million-dollar yacht. And then, when everything unexpectedly goes to hell, Hollywood makes a movie about you and you are the greatest hero since Nicolas Cage in the World Trade Center. Fortunately, contrary to my previous sentences, Berg has made such a sincere, empathetic and, in the end, even emotional epitaph on the fate of the unfortunate few who gave their lives due to sheer corporate bureaucracy and greed that I wouldn't be surprised if all the survivors wanted to have a beer with him every night for the rest of their lives. The plot is full of clichés and John Malkovich's character is exactly the annoying prototype of the irrational person who does everything they can to cause trouble in spite of everyone else, but otherwise it all comes across as authentic, intense and, hand in hand with a minimum of inaccessible shots, painful. And it's good that the clear culprit is neither the weather nor a technical glitch, but a failure of the human factor, and that the involvement of the protagonist's personal life doesn't come across as sentimental, but as the only 100% compelling way to realise what, above all, a person can lose when doing a dangerous job. Peter Berg has gone from a director of dull action stuff to a respected maker of real action flicks, and that's a good thing... 75% (26.12.2016)

Ein anständig gemachter Survivalfilm, der auf wahren Begebenheiten beruht, in dem an Explosionen, Öl, aber auch an guten Schauspielern und einem anständigen Drehbuch nicht gespart wird. Die erste Hälfte des Films hat ein ruhiges Tempo, in dem man die Charaktere kennenlernt, um zumindest einen Eindruck von ihnen zu bekommen, während die zweite Hälfte ein rasanter Ritt um das eigene Leben ist, bei dem Action und Heldentum nicht zu kurz kommen. Und wenn Menschen in einem entscheidenden Moment die Wahl haben, treffen sie oft die falsche Entscheidung, wie dieser Film zeigt, der die größte Ölkatastrophe in der Geschichte der USA originalgetreu rekonstruiert. (01.09.2017)

I didn't like this film because the acting was great, even though Kurt Russell was very enjoyable here, but mainly because the whole disaster and tragedy were portrayed so brilliantly. Here, I truly felt like I was on the oil rig, that everything was as it should be. It made the experience all the more powerful, even though you know what's going to happen. (30.01.2017)