Star Wars: Episode II - Angriff der Klonkrieger
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Star Wars: Episode II - Angriff der Klonkrieger (mehr)
Regie:
George LucasKamera:
David TattersallMusik:
John WilliamsBesetzung:
Ewan McGregor, Natalie Portman, Hayden Christensen, Christopher Lee, Samuel L. Jackson, Frank Oz, Ian McDiarmid, Pernilla August, Temuera Morrison (mehr)Streaming (5)
Inhalte(1)
Ein in letzter Sekunde vereiteltes Attentat auf Senatorin Padmé Amidala ruft Obi-Wan Kenobi und Anakin Skywalker auf den Plan. Es ist kein Leichtes, Padmé in der von Konflikten gebeutelten Republik vor Übergriffen der mächtigen Separatistenbewegung zu beschützen. Der Anschlag markiert dabei nur den Anfang einer gefährlichen Mission, in der Obi-Wan, Anakin und Padmé es unter anderem mit einer übermächtigen Armee von Klonkriegern aufnehmen müssen. (ORF)
(mehr)Kritiken (12)
Falls Star Wars: Episode I - Die dunkle Bedrohung "nur" das Herz der ursprünglichen Trilogie gefehlt hat, ist Episode II nur ein dramaturgisch hinkender Comic-Popcorn. Gleichzeitig ist der Film aber voll von großartigen Figuren, bombastischen Actionszenen, romantischen Momenten und Wendungen in der Handlung, die für die Entwicklung der Star-Wars-Saga wichtig sind. Man langweilt sich keine Sekunde. Die visuellen Effekte wurden an manchen Stellen nachlässig gemacht. In den besten Passagen sind sie aber famos. Es ist kein guter alter Star-Wars-Film. Im Rahmen der gegenwärtigen "eye candy" Popcorn-Unterhaltung ist er aber super.
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Vor dem Film habe ich ernsthaft in Erwägung gezogen, aus dem Star Wars -Rennen auszusteigen, aber schließlich habe ich es doch gewagt. Und siehe da, es hat sich gelohnt! Das kindliche Lispeln verschwand, die Kraft kehrte zurück, das Schicksal kehrte zurück, die Dunkelheit kehrte zurück. Besonders gut gefallen hat mir Hayden Christensen, in dem die beiden unvereinbaren Gegensätze, die dunkle und die helle Seite der Macht, aufeinandertreffen. Sein Taumeln auf der Kippe wird oft durch die großartige Musik von John Williams untermalt. Die Atmosphäre erinnert eher an die Computerserie "Jedi Knight - Im Schutz der Nacht" (im Vergleich zu den Original-Episoden ist sie düsterer, schicksalhafter, weniger märchenhaft), was gar nicht so schlecht ist. Auch Ewan McGregor kommt gut an, und zusammen mit dem rastlosen und emotionalen "Padawan" bilden sie ein hervorragendes Duo. Die Liebesgeschichte ist etwas gewalttätig und übermäßig stilisiert, aber glücklicherweise weicht sie schnell der Action. Ja, Episode II entfernt sich von der Fabelhaftigkeit der ersten Episoden und schlägt einen ernsteren Ton an, was den alten Hasen vielleicht nicht gefällt, aber für die Jüngeren unter uns, die die Geburt der CGI-SW miterlebt haben (beginnend mit Dark Forces), ist diese Welt eine Herzensangelegenheit. Ich denke immer noch, dass Star Wars: Episode II - Angriff der Klonkrieger der rechtmäßige Nachfolger der Episoden IV-VI-Reihe sind...
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The love scene with the couple by the waterfalls looks like a Nivea commercial. During the battle in the arena, the Jedi look so bored with their lightsabers that I keep waiting for them to roll a joint. The final battle is a massive mess. Add to that directorial shortcomings such as the final chase, in which Padmé falls out of a flying machine, drops from a great height to the ground and, as if in a last ditch effort, shakes her legs like a beetle, gets back on her feet like nothing happened and starts giving orders. There is no point in going on about other lapses, there are plenty of them. Lucas wanted to pay homage to everyone: Beverly Hills 90210, Gladiator, Chaplin's Modern Times, Blade Runner – it's all here. Unfortunately. But this is still Star Wars, and as the episodes roll in, this new coat of the magic that I love so much from the original trilogy takes on a new look.
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A sterile and shiny borefest with heaps of ugly CGI. Basically, it’s almost as poor as Episode I – it seems that the magic of the old episodes has been irreparably lost.
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I like the first trilogy (the older one) better. It is more real and realistic. The first episode still holds on to that, but in the second one, George Lucas became infatuated with CGI and started stuffing it everywhere (practically every scene has some). He could have at least refrained from this with Master Yoda. Well, what can you do, on the other hand, it was something new and unfamiliar at the time and he simply went all out. I actually feel that the second episode kind of lost the spirit of the whole series. Even though Hayed Christensen is a good Anakin in his best years, but also a terrible scumbag. The only thing you can lean on is the fact that with the second episode, the epic climax of the transformation of Anakin into Darth Vader is born, which is, in and of itself, flawless. But that’s all. Obi-Wan himself as the only philanthropist of the movie isn’t going to salvage it.
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If you were expecting some significant darkening after the infantilism and overwroughtness of Episode I, well... You can wait on. That said, it's definitely better than Episode I, but the question is whether better is enough when it's still an overstuffed popcorn nonentity with the most annoying CGI character in history.
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The episode for which I once had an extreme weakness is now starting to age a bit. Obi-Wan's antics across half the galaxy still work, and when the lightsabers turn on, shivers run down my spine, but the romantic storyline is perhaps overly simple. Natalie Portman's ethereal beauty, however, makes me forget the fact that Hayden Christensen sometimes falls short of playing a character as complex as Anakin Skywalker, despite his earnest efforts.
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Following the childishly naive Episode I, along comes the adolescently boorish, emo and theatrically unbalanced and ridiculously “dark and gritty” second episode. If Episode I betrayed the original trilogy by denigrating and distorting the canon, with midi-chlorians at the fore, but at least stood up as an autonomous narrative and a boisterous children’s movie, then Episode II conversely renounces not only self-containment but also internal logic in the interest of meticulously paving the way for the original trilogy. All of the characters become inanimate puppets, circling around a vain, egocentric brat. This is most frighteningly apparent in Anakin and Amidala’s relationship, which takes on not only a distinctly perverse but also repulsive form. As if by a wave of a Jedi hand, the princess loses any will of her own; her resolve and active nature seen in the first episode are replaced by unconditional submissiveness and lobotomization. At the same time, however, the slapdash screenplay gives the vain, blandly brooding asocial prick, who loudly declares his own supposed exceptionalism, every possible trophy, including the princess, and then presents an unprecedentedly repulsive projection screen for equally vain and supposedly chosen nerds.
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One film legend says that there was a fundamental difference in the approach to the world of cinema among the three most influential filmmakers of the 70s, namely Spielberg, Coppola, and Lucas. While Spielberg and Coppola literally lived for movies, exhaustively watched the performances of acclaimed film classics in film clubs, passionately discussed cinema with similarly affected individuals late into the night, and tried to push the world of film forward, Lucas was an enthusiastic reader of outdated comics, a viewer of 1950s TV space operas, and film theory was inherently foreign to him. However, he was able to capture the essence of popular culture and the transformation of the film audience from the 40s to the 70s, when the average age of cinema-goers continued to decrease. At the same time, due to sociological processes and the enrichment of society, there was a change in the perception of film. The infantilization fully manifested itself and the concept of a family film with a lower standard prevailed to be understood by a wider range of potential viewers. This is how Star Wars came into being, where a fairytale was wrapped in cosmic technology and the nonsense of the then-popular New Age movement. Lucas filmed it as visually and naively as possible, and precisely because of that, it had such a penetrating success. What succeeds attracts attention and the desire to imitate, and at a certain stage, when it becomes a cult, it is practically unquestionable and by itself carries the seal of quality regardless of its content. I saw the first three films of the famous series at an age when I found the motifs and execution, especially the "intellectual superstructure," laughable. Otherwise, the course of events is such that you see it for the first time at the age of 8-9, and then with an iron regularity, so you grow up with it and it has emotional and nostalgic value for you. Even if I grew up with it, I still would have most likely become a fan of the Star Trek series, which, despite its clichés, naivety, and the ideological basis that stems from multiculturalism, represents an honest work from the sci-fi genre. Star Wars only shares the space settings with the sci-fi genre. It is a fairytale fantasy that is neither clever nor innovative nor brilliantly directed. The later three episodes of the series are loaded with bombastic special effects, but they are more childish than anything, and they also lack the confident ironic detachment that emanates from every smirk of Han Solo. His portrayal by Harrison Ford somewhat resembles the much more pronounced ironic detachment of the Indiana Jones character. Personally, the entire series has nothing to offer me, and although there are understandably significant nuances between each film, what bothers me, such as the frenzied waving of lightsabers, the babbling about the Force, and the cute plush creatures as extraterrestrials, are typical of all the episodes. Therefore, this commentary applies to all parts of the Star Wars series. Overall impression: 20% for the set design.
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(weniger)
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An epic old-school love story with a slightly theatrical feel and absolutely brilliant visuals. A stunning spectacle, but slightly fragmented in terms of themes and dramaturgy.
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An episode I have a very special relationship with. The story rather clumsily combines two basic storylines and overwhelms with characters who don't get the space they deserve, BUT there’s still something substantial going on. The diverse locations make your chin drop to the floor, the action sequences tear you apart, and all the characters are simply divine (except Anakin, unfortunately, because Christensen is the casting fiasco of the century). I love the feeling of adventure and the development that comes with exploring new corners of the galaxy, I love the lightsabres, I love Obi-Wan and Yoda. It’s perhaps guilty pleasure, but also perhaps the most pleasant entry in the entire franchise. 80%
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I've never been particularly fond of the new trilogy, but if I set aside the romance from this installment, it serves as a pretty good bridge to the third, the best part of the new trilogy. Visually, it's captivating, and especially the planet Kamino strikes me as absolutely stunning. It's probably the combination of water, rain, and constant darkness. Obi-Wan is definitely the best character in the trilogy.
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