shengyang
Feb. 2001 ist beigetreten
Willkommen auf neuen Profil
Unsere Aktualisierungen befinden sich noch in der Entwicklung. Die vorherige Version Profils ist zwar nicht mehr zugänglich, aber wir arbeiten aktiv an Verbesserungen und einige der fehlenden Funktionen werden bald wieder verfügbar sein! Bleibe dran, bis sie wieder verfügbar sind. In der Zwischenzeit ist Bewertungsanalyse weiterhin in unseren iOS- und Android-Apps verfügbar, die auf deiner Profilseite findest. Damit deine Bewertungsverteilung nach Jahr und Genre angezeigt wird, beziehe dich bitte auf unsere neue Hilfeleitfaden.
Abzeichen7
Wie du dir Kennzeichnungen verdienen kannst, erfährst du unter Hilfeseite für Kennzeichnungen.
Bewertungen4143
Bewertung von shengyang
Rezensionen18
Bewertung von shengyang
There is nothing to like about this movie. Even the much talked about sex scenes start to get boring, since they are so gratuitous and repetitive. The film is poorly scripted and none of the psychological reactions of the characters ring true. No one could take seriously the character of Lorenzo the novelist who writes such juvenile autobiographical stories. And what about the plot holes and loose ends? Why the hell does the family dog suddenly attack the young girl, with whom it had lived for years? What purpose does it serve to leave open the fate of the babysitter, her mother and Carlos (who literally disappears down a hole)? The movie tries to be deep, but fails embarrassingly.
Fassbinder's use of color is often beautiful and occasionally exhilarating. It is a delightful cinematic moment when Ali first asks a drab and rainsoaked Emmi to dance in the bar, and she takes off her coat to reveal a technicolor dress underneath. There is no question that Fassbinder is the equal of his idol Douglas Sirk in composing a pretty image. But as nice as the style of this film is, it falls down on content. The preachy anti-racist tone gets monotonous, and the judgemental children and neighbors are just a bit too evil.
On the age difference issue, perhaps I am being just as bigoted as the antagonists in the film, but I find it a little implausible. Ali is a handsome youngish man, and I don't see how he could overcome the instincts built up by millions of years of evolution, and fall in love with the decrepit old Emmi. There is some vague reference in the film to Ali growing up without a mother, but this seems a psychological stretch.
On the age difference issue, perhaps I am being just as bigoted as the antagonists in the film, but I find it a little implausible. Ali is a handsome youngish man, and I don't see how he could overcome the instincts built up by millions of years of evolution, and fall in love with the decrepit old Emmi. There is some vague reference in the film to Ali growing up without a mother, but this seems a psychological stretch.
Neo is apparently the Messiah - the One who can see past the simulations in the Matrix to the underlying code. As a result he is an all powerful superman in the Matrix. So then why does he engage in all these ineffectual and interminable slap-fest kung-fu fights? He ought to win each encounter in a nanosecond. We shouldn't even be able to see a fight - Neo ought to be altering the underlying code to his advantage directly, without any visual corollary. Furthermore, once Neo's powers are discovered, he should be the only human going back into the Matrix. None of the other characters needs to be there at all. It is as though the directors bestow omnipotence on this character, only to have him operate at 1% of his ability throughout the movie. If the Wachowski's had tried to make an intelligent sequel, one that was consistent with Neo's powers, they would have had NO ACTION SEQUENCES at all. But of course this isn't an intelligent sequel - it is just a stupid and long commercial for sunglasses, Cadillacs and Ducatis. This movie is a failure on a par with the Star Wars prequels.