Regie:
Michael BayKamera:
Bojan BazelliMusik:
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Ryan Reynolds, Mélanie Laurent, Manuel Garcia-Rulfo, Ben Hardy, Adria Arjona, Dave Franco, Corey Hawkins, Lior Raz, Payman Maadi, Yuriy Kolokolnikov (mehr)Streaming (1)
Inhalte(1)
Ein Tech-Milliardär täuscht seinen Tod vor und begibt sich mit einem internationalen Team auf eine gewagte und tödliche Mission: den Sturz eines brutalen Diktators. (Netflix)
Kritiken (9)
Als ob hier irgendjemand einen neuen Netflix-Team-Action-Film à la M:I starten würde. Bay erachtet es aber leider für unwichtig, Sympathien gegenüber den Figuren zu wecken. Die sind jedoch in diesem Genre nach der Action das zweitwichtigste Element. Er konnte sie wenigstens mehr als Autos, Schiffe oder rosa Enten charakterisierten. Wenn jemand aus der Gruppe verrecken würde, würde man das in drei kurzen Aufnahmen behandeln und weiter geht’s. Sogar Reynolds hat nicht annährend so viele coole Sprüche wie in anderen Filmen, in denen (und weshalb) wir ihn mögen. Von den Dialogen tut einem der Kopf weh, es wäre besser, wenn niemand reden würde. Das Beste im Film ist der Action-Anfang mit der Autoverfolgung. Er hat einen unverwechselbaren Stil und enthält witzige Bay-Momente. Als ob wir uns bei Bay in besseren Zeiten vor den zweiten Transformers befinden würden. Der Rest des Films unterhält mit traditionell effektvollen Filtern, einer Schnitt-Epilepsie, Damenkostümen und übertriebenem Schauplatz-Glamour der weiteren Actionszenen. Sonst leidet man unter der Doofheit und einer unendlichen Absenz von Gefühl für alles.
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Lange habe ich keinen solch perfekten Beginn eines Films gesehen, den so lange Action geziert hätte. Nach Anna handelt es sich dieses Jahr um den zweiten Actionfilm, der mir sehr gefallen hat. Er passte toll zu meiner Stimmung, die internationale Zusammensetzung des Teams gefiel mir, natürlich ganz besonders meine geliebte Mélanie Laurent, und obwohl ich nicht für Actionhumor und Sprüche gemacht bin, habe ich mich in diesem Fall amüsiert und gelacht. Aus meiner Sicht ein hervorragendes actiongeladenes Vergnügen, und ich möchte Teil zwei :-)
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Michael Bay is simply nuts. Moreover he thinks that a movie about a bunch of people who want to save the world but actually kill many innocents is going to be fun. And yes, I can say that the action was fun. I’ve probably never seen it affect it its surroundings as much in any movie. However, the action was the only thing that worked. The boys and girls here didn’t offer anything the audience could relate to. Even a sight of the half-naked Mélanie Laurent left me totally unaffected… and that’s saying something.
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The action movie of the year arrives just before the end of a year where Netflix is clearly winning on the full front. Michael Bay is let off the chains like a hungry pit bull and serves up perhaps the purest action ecstasy, orgy and orgasm I've ever seen. From start to finish, this is an adrenaline-fueled, uncompromising, explosive, glammed-up wild ride that features two potentially iconic scenes (the opening chase in Florence and the finale with Magneto). Ryan Reynolds is traditionally excellent and his actor boost is nearly 100%, but the rest of the crew is impressive as well, with everyone being a pro at something different. On the action side of things, there's pretty much everything you can think of ( fast cars, beautiful women, parkour, shootouts, slow motion, location changes, explosions, destruction and juicy gore). The only thing I found lacking here was a proper fight, but otherwise a Bay beauty that I would love to have framed. Those who complain about the script should run against the wall to realize they're watching an action movie, not an Oscar-winning existential art sophisticated drama. 10/10.
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Netflix unleashed Michael Bay and gave him (within its limits) apparent freedom with all of the good, and bad, which that entails. So, here we have a film that generally does not make much sense and lacks coherence and causality. However, that is quite possibly due to the fact that Bay simply blew most of the budget on the best action sequences of (not only) his filmography. The introductory scene in Florence is a formal and logistical masterpiece, for which it would be difficult to find an equivalent in terms of topographic breadth, variety of formal elements, the number of production ideas, and the narrative and spatial trajectories of the individual characters, as well as the detailed planning and shooting. It may seem that Bay has become enchanted with the style of Tony Scott’s late creative period, but that is not entirely true. As a devotee of superficiality, Bay never slips into genuine experimentation with alternating formats and framerates. He merely adopts the concept of a cubist collage of scenes, which allows him to flawlessly map a particular moment, whether action or the state of mind and mood of the characters. At the same time, he discards the existing definition of a money shot as the single moment with which an entire sequence culminates and instead stitches together dozens of such scenes one after the other or, better said, for each moment of action, he finds the most perfect field of view, from which he creates the money shot. Everything is subordinated to the maximum wow effect, not only at the level of the overall collage, but also of its individual fragments. Bay stages breathtaking, logistically demanding shots with several action plans (which is true of both large units and numerous half-details) and with tremendously well-thought-out filling of the frame with movement and energy. It is reminiscent of the aesthetics of John Woo at his absolute creative peak (think Hard Boiled), just hypertrophied into a wild chase through the historic centre of a European metropolis instead of shoot-outs in studio interiors. ____ The rest of the film typically does not offer anything to match the opening sequence; rather, it comprises mainly static dialogue scenes and action sequences set in spatially limited locations. Let’s also acknowledge that, in many respects, 6 Underground is a painful illustration of its director’s limitations, whether in the overarching bombastic idea that only a dandyish billionaire can save the world from evil or in the inability to depict the suffering of war refugees in a manner other than embarrassing kitsch. All masters have their limitations and some are not even respectable people, but that does not diminish their virtuosity in their respective fields. 6 Underground is a bombastic project not just because of Bay, but largely because that is exactly what Netflix wanted from him in order to show off in grand style. Despite the impression of its own uniqueness, Netflix merely repeats what Cannon Films did a few decades previously and the main B-movie studios did long before that, when they attracted distinguished filmmakers to join them with the promise of absolute creative freedom, so that they could earn respect in Hollywood while feeding their distribution platforms with filler trash flicks. Just like those predecessors, Netflix will also turn out a handful of top-rate productions among its original projects, as well as quite a few half-baked films which, conversely, would greatly benefit from the intervention of a producer and script editor. However, 6 Underground raises the question of whether it is actually a badly made film as a whole or, conversely, a perfect product of Netflix algorithms. Due to its episodic narrative and frequent recapitulations, it does not work according to standard dramaturgical rules, but it is perfectly suited for fragmented viewing on mobile devices on the way to work. It is also evident that the entire project is intended to be the start of Netflix’s own blockbuster franchise. After this spectacular kick-off, let’s hope that Netflix approaches it in a similar manner as Mission: Impossible once did and hire a new director with a distinctive style or approach to the genre for each subsequent instalment. ____ Either way, the fact remains that Bay put forth his audio-visual masterclass here and 6 Underground will go down in the history of the genre. And so what if that’s thanks only to a single sequence in an otherwise forgettable film. After all, it will not be the first in that respect; it suffices to recall Bullitt (or, better said, let someone try to remember anything from that film other than the iconic car chase).
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Bay rulez them all! A mediocre story about a team who kills evil bastards and stage coups d’etat in exploited countries that Wernick and Reese gave a non-linear narrative structure, Dead Pool-style humor and a cool giant magnet that has its say in the final act. Lots of blood, headshots, cussing and beautiful shots of wonderful models in spectacular action scenes, all of which are typical for Bay. Reynolds plays Reynolds and the rest of the team is well cast, but you’ll remember just the stats and the great lines. The backstories are routine. I have a feeling that Bay visits the same website where I go for wallpaper and then he makes movies in the most amazing locations. I didn’t expect we’d get this far.
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Michael Bay off the rails. Despite all the glitz and impressive action, it lacks the refinement and cool style that we loved him for in the 1990s and at the turn of the millennium. Probably an attempt to go with the times, which in this case was way off the mark.
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The beginning bummed me out a little, even though I like fast car chases. This one took way too long. If I wasn't an unhip and uncool straight guy, I would probably have enough time to paint my nails (toenails included) while watching. The whole film would have been a guarantee of a five-star rating if it hadn't descended into the occasional bathos which went hand in hand with powerful American patriotism, and if the creators hadn't been so desperately trying to make a cool film full of oh-so-funny one-liners. By the way, for such good guys, they sure left behind a fairly high number of casualties.
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Porn made up of explosions and self-indulgent action scenes that (unfortunately) doesn't have the necessary balls of Michael Bay's earlier work. The worst thing about an action movie is when you start yawning, which happened to me quite regularly here. Michael Bay unfortunately loses all reason and completely unceremoniously lets his uncontrolled and frightening imagination run wild. The result is an extremely tasteless film that presents all its characters as mere pawns used for action orgies. As lobotomizing weekend entertainment, it's pretty good, I just feel the need to humbly suggest that the 150 million could have been spent more effectively.
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