Rendező:
Spike LeeForgatókönyvíró:
Russell GewirtzOperatőr:
Matthew LibatiqueZeneszerző:
Terence BlanchardSzereplők:
Denzel Washington, Clive Owen, Jodie Foster, Christopher Plummer, Willem Dafoe, Chiwetel Ejiofor, Kim Director, James Ransone, Peter Gerety (több)Streaming (3)
Tartalmak(1)
A rejtélyes Dalton kiagyalja a tökéletes bankrablás tervét, és merész akciója során több tucat embert ejt túszul az épületben. Frazier, a kőkemény nyomozó kapja a feladatot, hogy tárgyaljon a zseniális bűnözővel. Ahogy a veszedelmes macska-egér játék kezd kibontakozni, Frazier gyanút fog, hogy ebben az ügyben talán nem minden az, aminek látszik. Ráadásul felbukkan a színen a felsőbb érdekeket képviselő Madaline, aki kiszámíthatatlanságával még tovább bonyolítja az amúgy is robbanásveszélyes helyzetet. (UIP-Duna Film)
(több)Videók (1)
Recenziók (10)
A második megtekintés után 5*-ra emelem. A belső ember olyan elegáns film, mint amilyen elegáns Denzel öltönye, amelyben az utolsó jelenetekben cirkál. Ez egy tudatos, intelligens és szórakoztató játék egy bankrablásról, amelynek nem kell erőszakot (vagy erőszaktevőket) tartalmaznia ahhoz, hogy tökös legyen, és amely ellenkezőleg találóan kritizálja az erőszakot (párhuzam a kicsi fekete gyerek PSP képernyőn játszott akciójátékkal). A színészek minden porcikájukkal élvezik, Spike Lee és Brian Grazer (aki a költségvetést hihetetlen 45 millió amerikai dolláron tartotta) sztárfellépők, a záró "Chaiyya Chaiyya Bollywood Joint" szám pedig tökéletesen ráhangolódik a film érzelmeire.
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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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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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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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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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