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Paul W.S. AndersonKamera:
Glen MacPhersonMusik:
Paul HaslingerBesetzung:
Logan Lerman, Matthew Macfadyen, Ray Stevenson, Milla Jovovich, Luke Evans, Mads Mikkelsen, Christoph Waltz, Gabriella Wilde, Orlando Bloom, Juno Temple (mehr)Streaming (5)
Inhalte(1)
Frankreich im 17. Jahrhundert. Gleich an seinem ersten Tag in Paris legt sich der junge D'Artagnan (LOGAN LERMAN) mit den Musketieren Athos (MATTHEW MACFADYEN), Porthos (RAY STEVENSON) und Aramis (LUKE EVANS) an. Doch als er mit geschickter Klinge die Truppen des Fieslings Rochefort (MADS MIKKELSEN) in die Flucht schlägt, nimmt das Trio den jungen Abenteurer in ihrem Kreis auf. Gemeinsam müssen sie einen drohenden Krieg zwischen Frankreich und England abwenden, den der machthungrige Kardinal Richelieu (CHRISTOPH WALTZ) und die teuflische M'lady de Winter (MILLA JOVOVICH) herbeiführen wollen. Opfer ihrer Intrige sind der leichtgläubige König Louis XIII. (FREDDIE FOX) und der Herzog von Buckingham (ORLANDO BLOOM). Der Auftrag stürzt die Vier in atemberaubende Abenteuer zu Lande, zu Wasser und in der Luft und führt sie an die geheimsten Orte und in die gefährlichsten Situationen. Um zu überleben, haben sie nur eine Chance: Einer für alle! Alle für einen! (Constantin Film)
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Die drei Musketiere ist ein visuell schönes und reichhaltiges Spektakel, in dem Liebhaber von visuell ansprechenden Filmen auf ihre Kosten kommen. Storytechnisch und schauspielerisch ist der Film jedoch nur Durchschnitt. Ich mag das pompöse und arrogante Gerede der Musketiere nicht, von dem es reichlich gab. Von den Schauspielern hat mich der großartige Christoph Waltz als Kardinal Richelieu am meisten beeindruckt, und die lustigste Figur war Planchet.
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Es ist ein ein wenig kultivierterer Uwe Boll, was aber leider nichts daran ändert, dass der Tölpel und Grabräuber wie Paul W. S. Anderson sich einer ähnlichen Substanz hätte niemals auch nur annähern sollten. Außerdem wird diese Mischung aus ungeschickten Anlehnungen an piratenähmliches Herumspinnen sowie ritchieähnliche Dummheiten von der Unfähigkeit des Regisseurs, mit etwas Neuem beizutragen, vollends in den Sand gesetzt. Einige Aufnahmen von Milla Jovovich deuten darauf hin, dass Paul zu Hause unter dem Pantoffel steht. Ich verstehe schon, dass es angenehm ist aufzuzeigen, dass seine Frau selbst in fortgeschrittenem Alter immer noch dasselbe Hammerweib ist, aber leider beweist Anderson damit, dass er selbst in fortgeschrittenem Alter immer noch derselbe Tolpatsch ist. Zwei Sterne, und das auch nur wegen Mads, dem es (abermals) an etwas fehlt und der (wieder) dämonisch ist.
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Als ich mir Die drei Musketiere zum zweitem Mal angeschaut habe, fand ich den Film besser als beim ersten Mal. Beim zweiten Mal habe ich nämlich schon gewusst, was mich erwartet – ein fürchterlich schwachsinniger, aber ziemlich unterhaltsamer Streifen mit Luftschiffkämpfen, mit Actionszenen, die alles in Andersons Resident Evil-Filmen übertrumpfen, mit sympathischen Helden und schönen Dekollet…ähm Frauen. Warum nicht.
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Subjectively, the film fulfills everything you imagine in the phrase "The Three Musketeers directed by Paul Anderson," in a wholly positive sense. The trailers promised that it would be a blast. The inventive action combined with a superb cast, where everyone enjoys their role to the fullest, brings smiles of satisfaction to the audience’s faces. However, there are issues in the passages without any action, where perhaps it's not so much the gibberish dialogue that bothers us, but rather the fact that it has no pizzazz and lacks even the slightest bit of unpredictability. This means that you’ll simply know that Lerman will be a (likable) brat until the end and that the main three characters will be serving up catchphrases even if airships are falling from the sky. I'm not disappointed, I just think Anderson needs a tighter dramaturgical whip on him, and then he'll serve up one Death Race after another. :) 3 ½.
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Paul W.S. Anderson refuses to grow up. Again on a small playing field (mainly Versailles and the Tower of London), with banal rules and a budget of tens of millions, he plays with a handful of action figures, each of which can be described with a single word (tough, novice, beauty…). The games and the playing thereof are constantly referred to directly in the film. The historical entrée is reminiscent of a board game, slightly larger soldier pieces fill the study of the cardinal (an again underused Waltz), whose favourite pastime is chess (the rooftop action scene with My Lady also takes place on chess-board tiles). The inconsistent structure of The Three Musketeers brings to mind a series of gradually more difficult missions that the protagonists have to accomplish by means of their own abilities (those who have played Commandos, for example, will know what’s going on before the London “level”). ___ The whole excessively dumbed-down plot, which after a moment's thought (which of course the characters don't bother with) could be resolved by counterfeiting a certain diamond necklace, is set in a reimagined version of the 17th century with airships, flamethrowers and other nonsense that makes a lot of noise and makes killing easier. The villains fall to the ground without any hesitation, like heads during the French revolution without spurting a drop of blood. Only during the fight between D'Artagnan and Rochefort do we see a few drops, probably so that we will fear for the well-being of the unlikable main protagonist. Based on his age and his struggle to get into the world of adults, it’s clear who the filmmakers’ target group is. Just like the makers of naïve action movies in the 1980s, they’re targeting young men who are looking for adult role models. The Three Musketeers is naïve already, but with one obvious change in the behaviour of the “apprentice”. The shift from a young protagonist who looks up to his more experienced role models with respect to a cheeky brat who despises authority (unfortunately) very aptly reflects the current arrogance of the young toward their elders. ___ The whole world of modern-day musketeers is adapted to gamers, usually pubescent geeks, as they are stereotypically perceived, i.e. as people who enjoy dumb, vulgar jokes and are grateful for any sight of a bare female limb. Here the titillating view of a lady’s leg, there a joke about the king’s effeminate behaviour, or the great need of a feathered friend. (Poetic license aside, a bird shits. Twice.) For adults, there are just absolutely hollow speeches about heroic deeds that must be performed. ___ After the action-packed prologue, the film nonsensically starts anew – it is necessary for everyone to regroup – of course with an interesting state of affairs when the need for heroes is revitalised (like in the recent Bond movies). But the screenwriters don’t offer anything more substantial than this hint, which also applies to the insinuated impossibility of trusting the powerful, before whom the protagonists bow their heads in the end anyway. Today there are so many possibilities of how to handle these four mythical characters...at least the gentlemen could have taken some inspiration from Sherlock. ___ Given the transparency of each of the intriguers’ intentions, the repetition of information is irksome. The film absolutely fails dramaturgically; the ending – when, instead of the expected grandiose action-packed climax (oh, that’s already been done?), we are given a feel-good dance number – seems like a fart in a bottle, to use the words of one of the characters. ___ Despite everything I’ve written here, I was entertained by The Three Musketeers. Less so than by Death Race, when Anderson didn’t have to take the age of viewers into account, but I was entertained. For the whole two hours. Thanks to the full use of the space (instead of excessive use of editing), the action scenes are clear and don’t assault the eyes with the same stylistic exhaustion as the dialogue scenes (during which the cameraman doesn’t know how to rotate around the characters and not repeat himself, so he repeats himself), the fight combos with Milla dressed in period costumes are irresistible and the thematically appropriate song under the closing credits (“When We Were Young” by Take That) was also pleasing. Perhaps I fit the stereotypical image of a gamer after all. 55%
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