Regie:
J BlakesonDrehbuch:
J BlakesonKamera:
Doug EmmettMusik:
Marc CanhamBesetzung:
Rosamund Pike, Peter Dinklage, Eiza González, Dianne Wiest, Chris Messina, Nicholas Logan, Alicia Witt, Isiah Whitlock Jr., Damian Young, Macon Blair (mehr)Streaming (1)
Inhalte(1)
Eine Betreuerin eignet sich das Vermögen der Senioren in ihrer Fürsorge auf höchst zweifelhafte Weise an. Allerdings steht ihre neueste „Eroberung“ nicht alleine da. (Netflix)
Kritiken (16)
Das ist meine Promising Adult Woman! Ein originelles Thema mit einer modernen Bestimmung der Figuren, ein schlauer Kampf von stahlharten Egos, wo niemand ein Engel ist und jeder eine aufs Maul verdient. Ein Thriller und auch ein Gangsterfilm, welchen die weibliche Figur so souverän wie Clint Eastwood Leones Western leitet, und gleichzeitig ein zutreffender Spiegel der US-amerikanischen Gesellschaft mit einer Einmischung des Autors. Rosamund Pike liefert hier die beste weibliche Schauspielleistung in einem englisch gesprochenen Film aus der letzten Zeit – nicht mit der Tiefe, für die Preise verliehen werden, sondern durch das Ausschmücken jeder Szene mit akribischer Mimik. Sie ist das Rückgrat von dieser mutig aufgefassten Genre-Mischung. Die Besetzung von Peter Dinklage wirkt zuerst bizarr, allmählich passt er jedoch perfekt in das karikaturistische Konzept des Films hinein. Ein Film, der als Mist enden konnte. Dank ausgezeichneter Regie und dank Pike wurde er aber zu einem kleinen Popmoderne-Juwel.
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Ein einfallsreiches Konzept, ein sympathisch zynischer Ansatz und ein großartiges Schema. Und dann auch Enttäuschung. Mit einem so starken Filmkonzept und einer vollgepackten Hauptheldin ist es bedauerlich, dass sich der Schöpfer entschieden hat, in den Film Schurken einzufügen, die denen aus den animierten Grotesken Looney Tunes gerecht werden, und sich völlig auf kühne Entscheidungen zu verzichten. Außerdem ist es einer dieser Filme, dessen letzter Akt nur basierend darauf stattfindet, was dem Drehbuchautor gerade in den Kram passt. Es war anständig, aber es hätte viel mehr sein können.
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SPOILER: Es mag zwar nicht auf den ersten Blick so aussehen, aber es handelt sich im Grunde genommen um die Erfüllung eines typischen Gangster-Schemas über den Aufstieg eines Mafioso und seinen anschließenden Fall im Stil von "Scarface" (wobei die Hauptfigur eine anti-heldenhafte, amoralische und manipulative menschliche Hyäne ist, die sich als fürsorgliche Betreuerin verkleidet), nur verpackt in einen emanzipierten und satirischen Mantel, der für das (post-)moderne Kino des 21. Jahrhunderts geeignet ist. Der Mafioso Peter Dinklage und seine Schergen wirken absichtlich lustig und unfähig, denn sie repräsentieren ein veraltetes Modell von Kriminellen, die in der illegalen Unterwelt kauern und sich als Bestecher, Schmuggler und Entführer mit abgeschnittenen Fingern ausgeben, während die innovative Rosamund Pike und ihre weibliche Gang nach außen hin als legitime Wohltäterinnen erscheinen und sich unter dem Schutz der staatlichen Gesetzgebung und der Gerichtsbarkeit sonnen. Sie beherrschen ihr Geschäft jedoch nicht wie die klassische Mafia trotz des fehlerhaften Systems, sondern arbeiten im Gegenteil mit diesem System zusammen und missbrauchen seine Schwächen. Der Film zeigt auch ihre konkreten, schutzlosen unschuldigen Opfer, so dass man sich von Natur aus nicht mit ihnen identifizieren kann (was am Ende auch auf die einzige potenziell sympathische Figur mit Entwicklungslauf und auf Dinklage, der zu einem Schlimmeren bekehrt wird, lastet und sich auf die Seite derjenigen schlägt, für die man nicht Partei ergreifen kann). Das wird wahrscheinlich für viele unangenehm sein und einigen nicht gefallen (trotz der schwachen späten Genugtuung), ebenso wie einige wenig glaubwürdig wirkende Momente, die der Hauptanti-Heldin mehrmals grundlegend in die Karten spielen. Die markanten schauspielerischen Leistungen aller Beteiligten sind jedoch eindeutig positiv.
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Ein toller Thriller, bei dem man nicht durchatmen kann, gespannt verfolgte ich die Schicksale der Figuren vom Anfang bis zum Ende, und nur selten bin ich so schrecklich neugierig darauf, wie alles ausgeht. Und ich bin über alle Maßen zufrieden. Eigentlich handelt es sich um eine widernatürliche und abartige Schilderung des American Dream. Rosamunde Pike hat unsensible, psychopathische Luder wahrscheinlich im Blut.
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Ein faszinierendes Thema, ein großartiger R. Pike, ausgezeichnete Kostüme und dazu eine präzise Musik. Das Einzige, was mich davon abgehalten hat, die volle Punktzahl zu geben, war die leicht vorhersehbare Handlung (einschließlich des Endes), aber das hat dem Spaß keinen Moment lang einen Abbruch getan. Es gibt gute Momente, in denen man sich schüttelt oder lacht. Ich bin froh, dass es den Machern gelungen ist, ein so fantasievolles Thema zu nutzen.
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Of course, I'm glad it turned out the way it did .... but had it ended a few minutes earlier, I would’ve tipped my proverbial hat because a film with such big cynical balls would be remembered years from now. Blakeson just went soft, but it doesn’t matter, my idealistic little soul was relieved, so at least I send my kisses to Rosamund, those mischievously ironic pursed lips of hers at exactly the right moment, that eye play, it was an acting recital.
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An excellent, cynical, motherfucking thriller about the conflict between two assholes. Rosamund Pike enjoys herself plenty playing a despicable being who abuses defenceless old people, until one day she messes with an old woman who has very dangerous friends. It’s brisk, with excellent performances and a lot of fun, but unfortunately not so well written. In the last act things go a bit too over-the-top and the script begins to rely too much on unlikely coincidences. But I’m willing to turn a blind eye to it, because the ending was pleasant. In short, great satisfaction.
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I Care a Lot is a stylish, entertaining, and straightforward thrill ride that keeps the tension high and delights with its quirky characters and sharp direction. There’s no hero to root for here—instead, we’re treated to a cast of villains, with Rosamund Pike leading the pack as the ultimate ice queen. It’s no surprise she snagged a Golden Globe for this role. Pike delivers an absolute knockout performance, but the rest of the cast shines too, making this a well-crafted, two-hour treat.
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Rosamund Pike plays your typical, ruthless, evil, confident bitch who literally gets away with everything. The film has a compelling story about a woman who steals from defenseless pensioners and always gets away with it, until she runs into a lady who has dangerous friends. In addition to Rosamund Pike’s great performance, there is an excellent antagonist in Peter Dinklage (known to most as Tyrion). It’s nicely and engagingly shot, it has style, swing and panache, and plenty of twists and turns are not spared and suspense. I certainly wasn't expecting such an entertaining, engaging and intelligent film. Netflix is on. Story****, Action>No, Humor** Violence**, Funniness****, Music***, Visuals****, Atmosphere****, Suspense***. 7.5/10:
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With our government’s policies, I probably (luckily) won’t survive until my retirement. It’s just a matter of time until Marla inspires somebody to open a similar professional care service in this country. This cynical, female version of Scarface surfs on the waves of modern trends and, but still comes across subversively. It has a perfect screenplay which doesn’t falter, even at the end, and it manages to squeeze both comedy and a good portion of tension from the ridiculous premise about a "carer" who (completely legally) robs the mother of a white slave trade boss. Rosamund Pike’s acting recital is tastefully seconded by Peter Dinklage. Unexpectedly satisfying.
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I don't really like it when a professional killer in a film decides to kill someone professionally, he does it craftily and cunningly, but then he fails to completely professionally convince himself that he actually did it. This scene, along with one final plan, which was probably successful only thanks to a happy coincidence, lost the film one star from my review. Otherwise, I surprisingly had fun, especially thanks to the perfect Rosamund Pike.
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It’s pretty much a slam dunk by the halfway point since the central pensioner scam is a believably foul business, the plot unravels slowly and suspensefully, Peter Dinklage has a great accent and charisma, and Rosamund Pike successfully makes progress in her acting struggle not to come across as a living being. Plus, it has an interesting unspoken subplot at the start about there being a skeleton crew of women in executive positions across the system who look out each other and watch each other's backs in various types of semi-legal trouble. Once the cards are laid on the table, it knocks itself down a few times, stops making sense, and starts peppering us with one tendentious cliché after another. In bullet points (spoilers): 1) the film outright states several times that this will be a conflict of different ways of solving problems, i.e. the fear and brutal violence the mafia antagonist works with versus the cunning and outwitting of the system within it, which is the protagonist's domain. In the end, however, she achieves victory by electrifying the antagonist's security guard with tasers and then drugging him and leaving him dumped in the woods, thus achieving victory over him by his own means, in exact opposition to what she has convinced us of so far 2) Rosamund Pike's character here comes across as a clichéd Strong Woman (TM). To support her, the film thus puts her in situations where a dirty redneck in a red baseball cap threatens to rape her. I find this translation of the Twitter mindset into the medium of film extremely annoying 3) the film is shot in such a way that it could take place practically anywhere there are a few houses, as the camera doesn't take up any space at all and we mostly watch static focused faces in a narrow focus strip with a completely blurred background. Most of the semi-closeups and closeups of faces look like something out of a corporate annual report. 4) When the film does dare to go all in with everything and familiarize us with the space where the scene takes place, for some reason some places are completely nonsensically lit in purple or red, for example, and there's a turquoise light shining out of the windows of a normal apartment building that no one really shines at home. This isn't the first contemporary film where I've seen this, and I'd like someone to explain why they’re doing this to me.
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The opening monologue appealed to my cynical side, so I was looking forward to a movie that would be right up my alley. At first, it seemed that way. But the filmmakers obviously overestimated their abilities. As time went on, some things stopped making sense and the story started clashing with logic, and the ending was downright pathetic. Despite all my reservations, I'm giving a slightly above-average rating for the very good first half.
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So far, this is the best film of 2021 on Netflix. I didn’t expect much from it, so I’m even more amazed by the surprising result that managed to shut me up. First off, the film has an aura as if it were handled by the Coen brothers. Such satirical dark comedy dramas are really only done well by them and Martin McDonagh, so I have to tip my hat to J Blakeson (the director and screenwriter); it’s a gem through and through (with a bitter aftertaste that definitely appears during the viewing). The premise is perfect in a word; I haven’t seen anything like it in films. And Rosamund Pike is going for an Oscar. Why? Her portrayal of that truly despicable human waste shows just how talented she is. There are so many times her amoral behavior will make your stomach churn that it’s pointless to keep track. Peter Dinklage is flawless, and Chris Messina was a delight in a smaller role as the lawyer. The ending saved it; such a conclusion was exactly what the story needed (and we viewers needed it like a warm balm for the soul). For me, it’s 8.5/10.
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It hasn’t happened to me in a long time that I've had this much trouble rooting for a character in a movie. Because the problem here is the lack of any "character" in the good sense of the word. Besides, the way the main character justifies his own actions here (lioness or lambs) is insanely banal in every way. Of course I can't say that I don't care how the whole thing turns out and that I wasn't entertained. I Care a Lot combines thriller elements with Coen-esque absurdity quite playfully, and of course tries to put everything into a current social context. Rosamund Pike is OK, though she was a bit more demonic and believable in Gone Girl. In the end, though, it's a pretty cool one-off with a cool story. The ending is a bit overladen and makes a statement more tragicomic than believable on the current status of women in society, but who cares. As long as you don't have exaggerated expectations involving major statements and don't look for any deeper meanings, you'll be reasonably satisfied. It's such a nice play on the genre. [65%]
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I never thought that Rosamund Pike could play an even more cynical bitch than in Gone Girl. Little did I imagine how she would outdo herself and nail the character of total human scum so perfectly. It’s been a long time since I felt like strangling a character through the movie screen for two hours straight. Peter Dinklage also plays quite an asshole, but you can't help but root for him against Pike. In the end, the authors might have gone a little overboard with the unlikely events, but despite that, this movie about a slightly different version of the American dream is entertaining, with brilliant acting performances, and perhaps a satisfying ending. Although the authors seem to have gone soft towards the end.
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