The Rock - Entscheidung auf Alcatraz

Ein Actionfilm, den Massen von Zuschauern lieben. Die visuelle Seite ist ein Beispiel eines ausgezeichneten Genre-Handwerks. Dynamisch geschnitten, durch coole Filter aufgenommen, mit einer der besten Film-Autoverfolgungsjagden überhaupt (der Hummer versus der gelbe Ferrari in den Straßen von San Francisco) und mit sympathischen und gut besetzten positiven Figuren. Aber… Er hat keinen richtigen Schuft (!!). In dem Film hat alles ein perfektes Timing, alles ist so poliert, dass ich keine Spannung empfunden habe. Ich hatte keine Angst, dass den Haupthelden etwas passieren könnte. Deshalb war es mir auch egal, was kommen wird. Ein banaler Film mit einer ausgefeilten Form. (06.05.2002)

Sean Connery hat diesen Film gemacht. Sein Mason ist wirklich eine desolate Version von James Bond nach 30 Jahren Knast. Sein Sarkasmus und sein trockener Humor sind nicht zu übersehen, und wenn ich behaupte, dass Connery trotz seines fortgeschrittenen Alters den Glanz und die Ausgelassenheit seiner Jugend nicht verloren hat, dann liege ich damit auch nicht weit daneben. Michael Bay hat seinen Job anständig gemacht, ich hätte ihm gerne einen Tritt gegeben für das gelegentliche pathetische Gelaber, das durch Agitprop-Kompositionen mit amerikanischer Flagge und F-18 unterstrichen wird, aber man sollte das damit entschuldigen, dass der Film sehr gut voranschreitet. Ohne die exzellenten Schauspieler wäre der Film nicht annähernd so gut... aber der "Bösewicht" Ed Harris ist extrem sympathisch und der "gute" Connery ist total durchgeknallt, also ist für den Spaß gesorgt. Hinzu kommen ein vielleicht etwas zu neurotisch agierender Cage, ein großartiger Schnitt (vor allem die Eröffnungssequenz mit dem Lagerhausüberfall ist hervorragend rhythmisiert), ein perfekter Soundtrack von Hans Zimmer, und der Stern, der dem Film für die volle Punktzahl fehlt, wird aus Connerys gesättigtem Vorrat aufgefüllt. Und wir haben actiongeladene Erholung mit Stil. (05.12.2004)

An American action classic of the 1990s that fulfills all necessary qualitative parameters with flying colors. Michael Bay's perfect direction, excelling in the work with image filtering, as well as brilliantly composed action scenes. The star-studded cast of Sean Connery, Richard Harris and Nicolas Cage simply cannot disappoint. The plot is attractive plot and the screenplay is full of impressive explosions and action, and let's not forget about the excellent music by the duo of Nick Glennie-Smith and Hans Zimmer. The Rock may have slightly weaker sound and occasionally a few awkward cuts, but the positives easily outweigh the few shortcomings, and the viewer cannot be bored for a minute. One of those great action movies that we loved in the 1990s and usually underestimate in the new millennium. (07.01.2006)

Today, Bay is considered one of the most twisted megalomaniacs of the dream factory, and I must admit that his exaggerated grandiosity still genuinely entertains me. Among his best films, this high-octane, adrenaline-fueled ride will forever remain the one that perfectly defines the action films of the 1990s. The technical aspects may have their flaws, but it has a clever screenplay that makes fun of the 'Bond myth' and cleverly puts together all those clichés with incredible elegance and simplicity. That means that there's no point in getting upset about it. However, the main strength lies in the cast and Bay's directorial engine, which runs at impressive speeds. The opening ambush scene is rhythmically (the cinematography, editing, music) probably the best I've ever seen in the genre. And Hans Zimmer has never made more heroic music. I've never seen any other movie more times in my life. It’s been around 60 times. (23.08.2003)

“Personally, I think you're a fucking idiot.” When I was ten, I thought The Rock was the best action movie ever made. With the passage of many years, I still wouldn’t change my opinion. There are different reasons for why I admire Bay’s (and Bruckheimer’s and Simpson’s) masterpiece. He created a world in which everything is subordinated to the maximum action experience. The characters’ decisions don’t have to make much sense (and they don’t) – the main thing is that their actions look good (of course there is the characteristic circling around the actor from above) and generate more action situations. Despite its ambitious runtime and relatively long but later fully utilised exposition (we don’t get to Alcatraz until after an hour), The Rock is gripping from start to finish thanks to the actions happening in parallel, the deadline set immediately at the beginning and the continuous reminders of it, and the relentlessly driving soundtrack that transforms the film into a ready-made Zimmerfest. We don’t have a chance to catch our breath, thanks especially to the film’s brilliant rhythmisation. At first every ten minutes and then at even shorter intervals toward the end, a new obstacle/character brings about a key decision or the situation becomes more serious every. The diverse range of action scenes (car chases, shootouts, hand-to-hand combat) reveal new information and push the narrative forward. In addition to the horizontal forward movement, there is a vertical deepening of the bond between Goodspeed and Mason (the dynamics of their relationship become one of the drivers of the narrative in the second half) and of our knowledge of the characters and their motivations (Ed Harris definitely does not play a one-dimensional supervillain; on the contrary, the film’s first shots suggest that he could be the hero). The film, which thematises paternal responsibility in the second plan and offers a distinctive way of coming to terms with the trauma of Vietnam, continuously changes and develops, never ceasing to keep us in suspense and to surprise us, and never letting up for even a moment. Connery throw out one-liners like crazy, expensive cars are gleefully demolished and the bad guys are dispatched in inventive ways. The humour and ingenuity of the polished screenplay (in which Aaron Sorkin, among many others, had a hand) don’t turn The Rock into either light entertainment or an overly clever, self-reflexive deconstruction of the genre. Both of these aspects mainly help to humanise and better flesh out the main duo (in contrast to the deadly seriousness of the soldiers and the people running the FBI). Behind all of the spectacular explosions, daring heroic deeds and insane plans to exterminate humanity, we perceive throughout the film a believable human element, thanks to which we never lose interest in what’s happening and what comes next. In short, The Rock is a perfectly balanced mix of Bond, western and buddy movie. 95% (12.11.2015)