Regie:
Nicolas Winding RefnDrehbuch:
Nicolas Winding RefnKamera:
Morten SøborgMusik:
Peter PeterBesetzung:
Mads Mikkelsen, Kurt Nielsen, Leif Sylvester, Zlatko Burić, Ilyas Agac, Øyvind Hagen-Traberg, Maria Erwolter, Hüseyin Turan, Camilla Ramonn (mehr)Inhalte(1)
Kleinganove Tonny ist gerade aus dem Knast entlassen worden und versucht, sein Leben zu regeln. Sein größter Wunsch ist es, den Respekt seines Vaters, eines stadtbekannten Gangsters, zu gewinnen. Doch schnell läuft alles anders als geplant. Tonny versinkt in einem Berg von Schulden, die er unmöglich bezahlen kann, und zu allem Überfluss präsentiert ihm seine drogensüchtige Ex-Freundin auch noch ein Kind. Kein Wunder, dass ihm die Sicherungen durchbrennen. (Verleiher-Text)
(mehr)Kritiken (7)
Im ersten Teil war die Nebenfigur von Mads Mikkelsen interessant, im zweiten Teil befasst sich mit ihr Refn tiefer. Eine Schlüsselbeziehung zum Vater, eine problematische Beziehung zu Frauen. Und überall ringsherum Koks, Verbrechen und Gangster. Von den anderen Figuren aus dem ersten Teil sind hier nur manche erschienen und nur für eine Weile, damit sie die Geschichten verbinden. Der erste Teil war ein Krimi-Gangsterfilm, der zweite Teil ist ein Sozialdrama in einem Gangstermilieu. Schockierend und psychologisch stechend, so wie die beste skandinavische Tradition.
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Der zweite Pusher zeichnet sich durch mehr Passivität aus - Mikkelsens Tonny war bereits im Einser im Schlepptau der Ereignisse und "Muster". Dies wird für ihn in einer Geschichte, die von einem gewissen Maß an perversem Junkie "Ödipianismus" durchdrungen ist, regelrecht schicksalhaft. Mads ist atemberaubend, in sich verschlossenen und steuert auf die letzte tragische Geste der Reinheit mitten im Dreck zu. Tragisch deshalb, weil es eine Geste ist, die nirgendwohin führt - es gibt kein Entrinnen. In diesem Sinne ist der Zweier radikaler und verschlossener als der Einser, bei dem es zumindest scheint, als entrinne er der Hoffnungslosigkeit wenigstens ein wenig.
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Where Frank was always doing something in the first part (meaning actively getting in trouble), in the second part, Tony goes through life without much a do, because he’s such a waste that he wouldn’t even try to do anything. Once again, Refn’s look into the gutters of society feels extraordinarily authentic, to the point that it was almost unpleasant to watch that existence. The ending is impressive.
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It’s been a really long time since I saw the first part of The Pusher, so I said to myself it would be a good idea to watch the remaining parts so that the entire trilogy could gradually conclude. Well and the second part focuses on a pretty stupid character, who is portrayed by Mads Mikkelsen. And since we all already know that Mads is a great actor, you can bet that he sure had a lot fun with this one. The entire movie is built on him and thanks to him it is genius. No more words are necessary. Simply watch it and see for yourselves. It’s been a long time since I saw a movie that would stand or fall with a single character like it does in this case.
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Refn's anti-hero is willing to do anything to survive, but he certainly is not a drug dealer. More like a petty criminal, a car thief with a little bit of luck. He's unnecessarily impulsive, unbalanced, weak, and helpless, and without life perspectives and emotional support. Refn's work is mainly associated with the title Drive, which is an atmospheric overseas thriller with a mysterious and invincible hero. This film represents its nonchalant European counterpart, but surprisingly, in my eyes, it is a bit better. It is, so to speak, true to life. This unadorned and unromantic image of the gallery is much more convincing. Additionally, Refn has the virtuoso actor Mads Mikkelsen at his disposal, who is a chameleon in his roles. I have had the opportunity to see him in costume roles, as an elegant gentleman or as a devilish Bond villain. Now I watched him as a tattooed thug with a sense for choosing the worst possible solutions. Overall impression: 70%.
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Mads Mikkelsen rocks again. This time he's here as the biggest bum, lackey and fool, and yet he wins you over. Unlike Frank from the first Pusher, who everything depended on, Tonny just sits back passively, trying make some money. Overall, it's a slightly weaker sequel, but the ending is much stronger and really improves the overall impression.
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Compared to the first one, there are stronger social themes (whether it's the complicated relationship with the father or the overall complicated "personal rehabilitation" after returning from prison) and the main character is not as easy to read as in the first one. Because of these differences, Refn broaches a much more powerful social drama, with mafia activities playing second fiddle. In fact, it is not the desire for mammon itself that is at the forefront, but rather a deep personal need for recognition from immediate family.
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