Regie:
John MooreDrehbuch:
Skip WoodsKamera:
Jonathan SelaMusik:
Marco BeltramiBesetzung:
Bruce Willis, Jai Courtney, Sebastian Koch, Mary Elizabeth Winstead, Yuliya Snigir, Radivoje Bukvic, Cole Hauser, Amaury Nolasco, Sergey Kolesnikov (mehr)Streaming (6)
Inhalte(1)
Dieses Mal ist der knallharte Cop in der russischen Hauptstadt, um seinen Sohn Jack (Jai Courtney), der ihm über die Jahre fremd geworden ist, und den Russen Komarov (Sebastian Koch) zu retten. Den beiden sitzt die Moskauer Unterwelt im Nacken und in einem Wettlauf gegen die Zeit müssen sie nicht nur einen gefährlichen Machtwechsel in Rußland verhindern, sondern vor allem einen Atomwaffen- Raub stoppen, der den 3. Weltkrieg auslösen könnte. Dabei stellen McClane und sein Sohn fst, daß sie als Team unschlagbar sind... (20th Century Fox Home Entertainment)
(mehr)Kritiken (10)
A masterful funeral of the best action series of all time that can only be accepted at this symbolic level. Putting this material, which for three decades reflected and pushed the possibilities and the nature of Hollywood action films in an original way, into the hands of an average B-movie director like John Moore, with a script that suppresses, if not downright ruins everything that made McClean fun was an idea worthy of immediate defenestration. I can’t be bothered to describe everything that irritated me and I don’t even know why it shouldn’t end at 1*. Maybe out of respect for Willis’s best role and for a couple of solid action scenes, but it’s better to quickly forget about it.
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Eine ultralaute und im Finale fast komisch überexponierte Destruktion von allem, was sich bewegt oder steht – einschließlich des Gehirns vom Publikum und des ehemaligen Kults einer coolen Actionserie. Den sechsten Teil soll Uwe Boll machen, Idioten…
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McClane ist zurück. Und Sie können sagen und schreiben, was Sie wollen. Es ist immer noch er. Die Versöhnung von Vater und Sohn ist höllisch und man hat sie schon viele Male und besser gesehen (Indiana Jones und das Königreich des Kristallschädels). Aber sieht der ganze Film Stirb langsam - Ein guter Tag zum Sterben so aus? Lassen Sie sich von der niedrigen Bewertung nicht entmutigen und überzeugen Sie sich selbst. Ich habe einen ziemlich soliden Actionfilm gesehen, der mir wahrscheinlich mehr Spaß als The Expendables 2 gemacht hat (aber weniger als The Last Stand). Einfallsreiche Actionszenen (die Verfolgungsjagd, das Finale mit dem Hubschrauber, welches ich besser als das Finale mit dem Jagdflugzeug aus dem vorigen Teil finde und das eine typische yippee-ki-yay McClane-Improvisation ist), Beltramis Musik, visuelle Effekte, Witze, von denen es mehr gibt, als ich erwartet habe (Willst du kuscheln?), der charismatische Sebastian Koch, Verweise auf den ersten Teil der Serie (Beethoven, der Sturz des Schufts in Zeitlupe)… Alles war gut. Über Jai Courtney habe ich mich aber schrecklich aufgeregt. Ich habe auch den Eindruck, dass dem Film jemand im Schneideraum wehgetan hat, weil in ihm einige Szenen aus dem Trailer fehlen (besonders leidgetan hat es mir bei dem Taxi-Dialog mit dem Polizisten/Juristen). Wenn es bloß die längere Version als DVD geben würde. Dreieinhalb rote Sterne.__PS: Den Extended Cut gibt es nur als BD. Deshalb werde ich ihn wahrscheinlich nie sehen.
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One awaits another instalment with excited anticipation, but in the end, the Die Hard saga only gets disappointing. Bruce Willis is getting old, he’s basically an old geezer now and at the beginning, he couldn’t have looked more like an old geezer. The action is interesting at first and relatively decent, but as time goes on, the movie becomes a load of hogwash. But the stupidest thing of all is the story’s shift to Chernobyl. I mean, that’s simply unreal. The worst thing about it is the fact that the movie looks good in the beginning thanks to the action, but the cameraman gets high on mushrooms after a while and the other cameraman gets all high on dopamine, because they couldn’t have messed up the end result more. The truck just flies across the bridge over to the road and everything explodes insanely. One would think that there’s nothing easier than filming a moving car and letting it all flow without editing, but the scene begins and everything crumbles into twenty thousand sequences, shots and explosions. And what puts the cherry on top is the stressed-out assistant camera operator who probably held the camera for the first time in their life and they shook the devil out of it within the first nanosecond. Awful. Die Hard used to be about humility, a story that used to be realistic, honest and – on the other hand – random since John McClane has always been able to find himself in the world’s greatest mess. But this was just an action flick with special effects and it was downright awful. It has basically nothing to do with the Die Hard saga apart from Bruce Willis.
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A crazy day to die hard. When writing this script, Skip Woods occasionally forgot that he was writing another installment of an established series and often broke its established rules – unfortunately, including the traditional showdown with the villain. However, even so, I mostly enjoyed it in spite of myself. Because right from his first glance, Bruce Willis proves that he has missed his iconic role and relishes every shot or argument with the senator. Besides, John Moore, no matter how many flaws he has, simply knows how to handle action; he just needed a little push. I understand that McClane's adventure shouldn't focus on family values, but currently, the universal reactionism really disappoints me. That's why I will add an almost invisible plus to the solid 70 percent. But I want the sixth installment to be more personal in a completely different way.
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McClane gives up everything that is so great about him so he can go save his son's ass. That is, he gives up everything so he can spend his vacation trying to get his son to quit selling drugs... And what a great vacation, because of course daddy and son kiss and make up, share a laugh, get a little moist, get a little radioactive. Just a great vacation in the former Soviet Union that can make you go blind.
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This time he brought you a Mercedes... The only thing that didn’t drop in quality was Beltrami’s music. Otherwise, this is like falling painfully on your face. For me, this isn’t another episode of that excellent series that I grew up on. I’m not treating it as one of them, so that I can be at least a little objective. I don’t like Moore, he already ruined Max Payne and he isn’t much good at making movies. Here at least he tries to push the action to the forefront (I have to admit that there really is a lot of it) because any switch to “father and son talking" equals catastrophe. I would be surprised if Skip Woods’ screenplay was any more than five pages long, it’s completely off any qualitative scale. It has some sort of story, but too few snappy lines and hogwash about the holidays soon gets boring. Bruce doesn’t give a damn about anything and he seemed to me to be overacting. And what else can he do, it’s a parody on Die Hard after all! I’m not going to have a dig at the illogicality of individual scenes, but several times I had a really surprised look on my face. Especially on the trip to Chernobyl. That reminds me of the days when I used to watch Seagal movies with my dad (e.g. Under Siege 2) and he always went on about what a pile of baloney it was, that it didn’t make any sense. Who on earth thought up such a load of tripe? Well, now I’m following in my dad’s footsteps. Wanna cuddle?
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Merciless crap. It starts slowly and smells like a cheap production from Bulgaria. It is beautifully apparent how most of the budget went into action scenes (I must add that everything had to be completely blown to smithereens, of course), but their clarity is incredibly bad. I felt sorry for it and wondered where the director's talent from the Behind Enemy Lines era went – I didn't even breathe during the jet shooting scene, and that scene is already an immortal legend. Unfortunately, it is not just about the chaotic and bad action, the humor doesn't work either. There are only two or three interesting gags, and that's it. The R rating is basically pointless. I liked the cccasional self-parody (whether it’s intentional is another question) and the escapades like the Maybach in Chernobyl, but the casting is awful, and so is the script. Basically, it's a patchwork with 3 or 4 big action set-pieces, of which only one is truly memorable – no filters, work with lighting, low-angle shots like Michael Bay. A big disappointment. The fourth installment is indeed "the most decent" by far, but it's packed and no expense was spared on it. Here, the only evident thing is the attack on viewers' wallets to squeeze the last bit of money from the legend.
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The fact that Skip Woods suffers from screenwriting elephantiasis, and that anyone with a heightened sensitivity to moronic dialogue and story in general will probably get cancer while watching the new McLane escapades is unfortunately pretty much covered up by the fact that, from a directorial standpoint, this bullshit is surprisingly innovative and masterful. In fact, the alpha and omega of AGDtDH is that 20 or so minute car chase in downtown Moscow, where all the trump cards are laid out and, in fact, justify the entire existence of this film. The authenticity of the clashes here is aided by the multiple shots of the same situations from different angles, as well as the editing, which cuts away from the collision that the next shot records from somewhere else. Imho, it was purely deliberate that one of the shots ends at an angle where we see a crew member in a helmet along the right edge, controlling the vehicle on which the camera is placed. Combined with the senseless (but impressive) destructiveness of the entire scene, this makes every impact doubly felt and almost brings back that good old feeling of crossing your fingers for the stuntman, wishing him a speedy recovery. Moreover, the armored transport starring in this scene is actually the link between the chase scenes in Terminator 3 (a slow, multi-ton, virtually indestructible crane) with those in The Bourne Supremacy (fast, punchy, unconcerned with consequences), thanks to its destructive potential and not inconsiderable speed. In fact, everything before and partly after – the camera, for example, hiding fearfully behind a car during a gunfight, the shooting of situations from inside passing cars, the escape on the roof that we see from an aerial shot and hear only the echoes of gunfire – are the viewer's preparation for this scene. ________ Yeah, but otherwise it's really terrible crap, which in places defies the very basic creative precepts ("The whole room is contaminated with radiation" "Don't worry, luckily we have a secret substance with us 24/7 that will get rid of the radiation" – no kidding!) and the characters work about the same as in the snuff videos. McLane isn't in this movie, but I think he'd like it on TV.
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A bad director and a bad screenplay can turn even a good series into a disaster. What's the problem? Well, actually, it's probably everything. It doesn't work from start to finish, unfortunately even from the side of the cast. More: http://www.filmovy-denik.cz/2013/07/smrtonosna-past-opet-v-akci-2013-30.html
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