Einem alternden alkoholkranken Polizisten wird die Aufgabe übertragen, einen Zeugen aus dem Polizeigewahrsam in ein 16 Blocks entferntes Gerichtsgebäude zu bringen. Chaotische Kräfte wollen ... Alles lesenEinem alternden alkoholkranken Polizisten wird die Aufgabe übertragen, einen Zeugen aus dem Polizeigewahrsam in ein 16 Blocks entferntes Gerichtsgebäude zu bringen. Chaotische Kräfte wollen das verhindern.Einem alternden alkoholkranken Polizisten wird die Aufgabe übertragen, einen Zeugen aus dem Polizeigewahrsam in ein 16 Blocks entferntes Gerichtsgebäude zu bringen. Chaotische Kräfte wollen das verhindern.
- Auszeichnungen
- 2 Nominierungen insgesamt
- Eddie Bunker
- (as Mos Def)
- Ray Fitzpatrick
- (as Mike Keenan)
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Willis is impressive with his burnt-out-edness. His character does not resemble any kind of action hero here; unfit, overweight, unattractive, shuffling, gasping for a drink. Well done. And while I like David Morse his character was a bit over-the-top. I mean, I get that they're crooked cops but really, shooting wildly into a crowded NY street and a bus full of civilians. Did the bad cops think they were completely above the law or any repercussions? That they could just do whatever they wanted without consequence? Reminded me a bit of that opening scene with Dwayne Johnson and Samuel L Jackson from "The Other Guys" except that was a comedy. I will say that this grew on me by the end though. 06.13
Bruce Willis is much as we met him in DIE HARD WITH A VENGEANCE (and indeed there are many parallels and references to that movie in this one); he's washed up, past his glory, except here he's even worse, saddled with a paunch and a gammy leg. Once the bullets start flying, Bruce's character takes a turn for the better and he becomes the everyday hero we all know and love him for. I was prepared to dislike Mos Def's high-talking criminal but, surprisingly enough, he's one of the best things in the film, and he really makes the criminal character his own, adding warmth to the feature. David Morse, off our screens for too long, is as great as ever as the corrupt cop who becomes the nemesis of the heroes.
While the film is not action-focused, there are some highly impressive set-pieces which strive for realism – the stand-out scene being the bus hostage rescue, of course. Elsewhere, the layer of gritty realism – no pyrotechnics here – and the endless cops-vs-robbers stealthy sneaking around generate plenty of tension and also excitement. My only real complaint is with the ending, which could have been handled a little better, but then it chooses emotion over action and it's a character-focused finale rather than one with big bangs. I remember a few years back when the film S.W.A.T. attempted a similar storyline; the difference is, that film was a piece of crap, and this one is rather good.
Anyone who doubts that Bruce Willis can act needs only watch his standout performance in "Pulp Fiction" to see what depth this actor can bring to a demanding role. The role of Jack Mosely may not be challenging to Willis, but he still gives it all he's got which is plenty. Playing the part of an over the hill New York cop with a game leg, nothing to live for, and a drinking problem seems easy for Willis to make it all believable.
The criminal, Eddie Bunker, Jack must deliver to testify within a certain time frame is played with gusto by hip-hop artist Mos Def. Eddie is the most verbose prisoner ever. He rattles on and on about anything that comes to mind, some of it funny, some of it trite. He also has a riddle that is not answered till near the end of the film.
A standout performance is delivered by David Morse as the leader of the dirty cops, Frank Nugent. Morse is in danger of becoming typecast as a dishonest lawman. I'm hopeful he will become more diversified in his roles since he is such a talented actor.
This is another winner from action director Richard Donner. If you like his other successful concoctions such as the "Lethal Weapon" flicks, "Superman," "Conspiracy Theory," and "The Omen," then you will certainly enjoy "16 Blocks."
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- WissenswertesIn order to make Detective Jack Mosley's limp look realistic on screen, Bruce Willis put a pebble in his shoe and kept it there throughout the length of the shoot.
- PatzerWhen the bus drives down the alley, knocking down air conditioners, one of them falls apart, revealing it to be an empty metal box.
- Zitate
Jack Mosley: [as an answer to Eddie Bunker's riddle] You give your car keys to your best friend, who takes your car and drives the old lady to a hospital. You stay behind with the love of your life.
- Crazy CreditsThere are no opening credits save the title "16 BLOCKS".
- Alternative VersionenSPOILER: On the DVD is a version with an alternate ending, where Nugent calls off killing Jack after they talk in the basement of the courthouse, but can't get through to Torres. Nugent runs upstairs to stop Torres. After Jack tells the ADA he's willing to testify, Torres shoots him when he pulls the tape recorder from his pocket just as Nugent reaches him. They both fall down the stairs. But then Nugent moves as the playback starts on the tape recorder. The ADA rushes to the jury with the recording as someone covers Jack's face with a blanket. Later a voice over (when Diane gets the cake) by Eddie reveals that Diane came to see him in Seattle to tell him that Jack is dead.
- VerbindungenFeatured in HBO First Look: 16 Blocks (2006)
- SoundtracksBesame
Written by Jeeve and Von Shock
Performed by Sapien
Courtesy of Where's My Cut Productions
By arrangements with Blast! Management and Pen Music Group
Top-Auswahl
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Details
- Erscheinungsdatum
- Herkunftsländer
- Offizielle Standorte
- Sprachen
- Auch bekannt als
- Muerte súbita
- Drehorte
- Toronto, Ontario, Kanada(As NYC:)
- Produktionsfirmen
- Weitere beteiligte Unternehmen bei IMDbPro anzeigen
Box Office
- Budget
- 52.000.000 $ (geschätzt)
- Bruttoertrag in den USA und Kanada
- 36.895.141 $
- Eröffnungswochenende in den USA und in Kanada
- 11.855.260 $
- 5. März 2006
- Weltweiter Bruttoertrag
- 65.664.721 $
- Laufzeit1 Stunde 42 Minuten
- Farbe
- Sound-Mix
- Seitenverhältnis
- 2.35 : 1