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David AyerKamera:
Gabriel BeristainMusik:
Graeme RevellBesetzung:
Keanu Reeves, Forest Whitaker, Hugh Laurie, Chris Evans, Cedric the Entertainer, Jay Mohr, Terry Crews, Naomie Harris, Common, The Game, Martha Higareda (mehr)Inhalte(1)
Detective Tom Ludlow vom LAPD, dem Los Angeles Police Department, hat sich mit seiner kompromisslosen Herangehensweise nicht nur Freunde gemacht und gerät nach einer besonders spektakulären Geiselnahme ins Visier des internen Ermittler Biggs, der nur darauf zu warten scheint, dass Ludlow bei seiner Arbeit einen schwerwiegenden, letzten Fehler begeht. Als einige Tage später Ludlows ehemaliger Partner, Terrance Washington, von unbekannten Tätern auf offener Straße hingerichtet wird und in Ludlows Armen stirbt, gehört Ludlow zu den Hauptverdächtigen, denn Washington soll bei Biggs gegen ihn ausgesagt haben. Um Ludlow zu schützen, verbietet ihm sein direkter Vorgesetzter, Captain Wander, die Mörder Washingtons zu verfolgen. Dennoch gibt es für Ludlow nur ein Ziel: Er will die Killer fassen und zur Rechenschaft ziehen. Bei dieser Mission steht Ludlow der junge Nachwuchs-Cop Diskant zur Seite. Doch bald realisieren die beiden, dass die eigentliche Gefahr für sie innerhalb des undurchsichtigen Polizeiapparates liegt und Ludlows Chef und seine Kollegen ein doppeltes Spiel zu spielen scheinen. Für Ludlow hat der Kampf gegen eine Welt, die von korrupten Kräften gelenkt wird, längst begonnen. (Verleiher-Text)
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Am Anfang ist dieser Krimi schön hart, am Ende wird daraus aber leider eine gewöhnliche Geschichte, deren Thema schon oft aufgegriffen wurde. Und besser dargestellt wurde. Im Finale hat man viel geschrien, was seltsam gewesen ist. Gleichzeitig haben Emotionen gefehlt, obwohl es sie dort wahrscheinlich ursprünglich geben sollte. Die Actionszenen waren aber gut, die beste von ihnen war die zweite Schießerei in der Wohnung. Hugh Laurie hat leider sehr wenig Raum bekommen.
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David Ayer and the corrupt police (again?) in the suburbs of Los Angeles (yes, yes, again). This guy has proven himself both as a director and as a screenwriter. The second essential person for Street Kings is James Ellroy. He is certainly more than just good — that's an indisputable fact. Street Kings is like a cup of Turkish coffee. Although steeped for the third time in the same dirty mug where the grounds remained after Training Day and Harsh Times, only now it is the right kind of coffee: strong, dark, dense, bitter and, above all, shamefully delicious. But not everyone likes their coffee like that. To sweeten it up, they threw in sugar cubes in the form of perfect acting performances. Reeves, in particular, makes one forget about his recent dull performances, and Whitaker seems to be saying "sorry for the most ridiculous performance of my career in Vantage Point“ (but he's still pushing a bit too hard - he didn’t use to do that). Street Kings is on its way to being the Crime Movie of the Year, although judging by the feedback here, it seems I'm the only one who thinks so. It's enough to make me happy anyway. Five stars in the context of the genre, otherwise a strong four. I admit that there are a few hiccups here, but nothing that would matter very seriously in a crime movie. Next time, however, Ayer could try a different cup of tea. He’s far too talent to be tucked away in a one-genre box.
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Relentless action, positive tough guys, and negative friends with a facade, that's always been my thing and will continue to be. Whether Keanu Reeves reminisces about past trauma with a suffering expression, furrows his brow while pondering the increasing number of corpses, or simply puts on a face that says "touch me and you won't have a hand", pulls out a gun, and goes after everyone he doesn't like, I can't help but be amazed and humbled by the fact that this fast-paced and yet highly convoluted bloody corrupt affair can't be stopped.
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David Ayer understood that as a screenwriter he had already exhausted himself with Training Day, so it was providence that advised him to shake hands with the neo-noir classic James Ellroy. The result is not particularly stunning, the traditional plot about the improved cop/asshole doesn't provide anything new and the director also doesn't do anything special in terms of the formal aspects. Yet the atmosphere of L.A.'s suburbs is literally dripping and the vivacity with which Keanu Reeves runs through the film is incredible. The clenched, pissed-off expression of the stubborn bulldog fits him perfectly and the viewer makes uncompromising cuts into the arm with him, of which there are many. This is Ayer's best film, but I’m not buying the negros, corrupt cops, and dark tough guys for the fourth time.
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Throughout this whole time, I had an incredibly good feeling about this movie. The actors played great and Keanu Reeves in the main role of a policeman and a madman with a gun, really nailed it. However, Keanu cut through maybe half of the film crew, so at times it was quite challenging to believe that he is actually such a tough guy, who can scare everyone he meets to earn respect. He did make it in the movie, but not really for me. On the other hand, the movie itself was not boring at all and it worked perfectly. Until the end, where he also chose the best of the whole movie.
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