London Boulevard Wo kann man diesen Film schauen?
Nach drei Jahren hinter Gittern will Mitchel sein Leben grundsätzlich ändern und sich von kriminellen Machenschaften fernhalten. Doch kaum ist er aus dem Gefängnis entlassen, bietet ihm sein ehemaliger Komplize Billy auch schon einen Job als. London Boulevard ist ein US-amerikanisch-britischer Thriller aus dem Jahr Es ist die Literaturverfilmung des gleichnamigen Romans von Ken Bruen. jonkoping-filmfestival.se - Kaufen Sie London Boulevard günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu einer. London Boulevard. (91)1h 38minX-Ray Ganove Mitchel will nach drei Jahren Knast ein neues Leben anfangen. Zufällig trifft er auf die Schauspielerin. London Boulevard ein Film von William Monahan mit Colin Farrell, Keira Knightley. Inhaltsangabe: Mitchel (Colin Farrell) wurde gerade erst aus dem Gefängnis.
William Monahans Regiedebüt»London Boulevard«überzeugt als geradliniger, wundervoll fotografierter Krimi mit einem überragenden Colin. Colin Farrell versucht in dem Thriller London Boulevard nach seiner Entlassung aus dem Knast im legalen Leben Fuß zu fassen und wird Bodyguard von Keira. In "London Boulevard" sind die Zeiten dieser Coolness vorbei, Drehbuchautor William Monahan macht sich auf die Suche nach ihr. Entdecke die Filmstarts Kritik zu "London Boulevard" von William Monahan: Um das in London angesiedelte Buch eines irischen Romanciers zu verfilmen, sollte. William Monahans Regiedebüt»London Boulevard«überzeugt als geradliniger, wundervoll fotografierter Krimi mit einem überragenden Colin. In "London Boulevard" sind die Zeiten dieser Coolness vorbei, Drehbuchautor William Monahan macht sich auf die Suche nach ihr. London Boulevard: Sendetermine · Streams · DVDs · Cast & Crew. will der Londoner Pate Gant (Ray Winstone) Mitchel unbedingt kennenlernen und mit ihm. Colin Farrell versucht in dem Thriller London Boulevard nach seiner Entlassung aus dem Knast im legalen Leben Fuß zu fassen und wird Bodyguard von Keira. It's a mess from which the main character must get. Anyway, you get the idea. Casually till eulenspiegel film opinion meant that I ended up not really convinced by their relationship in the end and so it didn't quite work for me. Game of Thrones: Season 8. Retrieved 8 July That night, Mitchel todd solondz kidnapped by Billy and taken to his boss, Rob Gant Ray Winstonewho insists that Mitchel collect money for. Had the film stood are assasin creed have more often, its stylish gambit would have worked better. Log in with Facebook. Everybody smokes, a lot, and swears, a lot.
London Boulevard VideoLondon Boulevard 2010 hd movie
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Total Recall I Action Adventure Sci-Fi. Seven Psychopaths Comedy Crime. Edit Storyline Fresh out of prison, Mitchel wants nothing to do with crime but accepts a kip from Billy, a marginal grafter, and accompanies Billy on rent collection trips.
Taglines: Not every criminal wants to be one. Edit Did You Know? Infernal Affairs the movie The Departed was based on was incorrectly called "a Japanese film" during the 79th Academy Awards; Jordan emphasizes "he got it from Hong Kong" here.
Goofs When the copper first appears at the flat where Mitchell is staying, he clearly introduces himself as 'Detective Sergeant Bailey'.
But in the credits he is identified as 'DI Bailey'. Quotes [ first lines ] Jailer : [ to Mitchel ] You. You're out. Was this review helpful to you?
Yes No Report this. Considering the film's writer and director William Monahan is from Boston, I was worried that this might be the tourist's eye view of London, but that really isn't the case.
The film positively drips with atmosphere, and the expletive-heavy dialogue rings true. And yet it all sits there, lifeless on the screen, a collection of images and characters that seem only vaguely related to one another.
It doesn't help that the main plot - will Farrell become a proper gangster, or will he end up with Keira Knightley's way-too-good-for-him actress - is hardly new.
But that doesn't have to be a deal breaker, and there are plenty of interesting minor characters to pass the time.
The problem is really that the film feels rushed. Those minor characters aren't given nearly enough time - Marsan gets three scenes, none of them remotely important to the plot, and even Anna Friel doesn't get a lot to do.
She's still better off than Stephen Graham and Sanjeev Bhaskar, great actors who are cast in completely pointless roles that could have been played by anyone.
And so much of this movie feels tacked on, from the dozen or so subplots, to Winstone's pointless murder of the wrong man halfway through, to the stalker, obviously based on Mark David Chapman, who makes several ominous appearances and is then dismissed in a single line of dialogue.
If some subplots and characters are pointless, though, the ending made me feel that way about the whole damn film. Without giving too much away, it's a horrible, limp lettuce of an ending, with none of the resonance that the film-makers clearly thought it had achieved.
That's the film in a nutshell - it wanted to be profound, but ended up as a giant 'so what? Was this review helpful? Sign in to vote.
London Boulevard is written and directed by William Monahan. Music is by Sergio Pizzorno and cinematography by Chris Menges. Written and directed by the man who co-wrote The Departed, it's not hard to guess what sort of tone London Boulevard is set at.
Which for anyone who follows neo-noir will find plenty to like here, not least the stylish and tonally compliant photography of Menges. However, falling under the neo-noir banner becomes a curse in a way because there are far greater films of this ilk to liken it too.
Pic at least does have the courage to not cop out in resolutions, but again there is no surprise factor for the genre faithfuls.
The narrative often meanders, shoehorning in Knightley's underused harassed actress as a love interest in the process, and London accents are choppy.
It also is criminal to have Stephen Graham and Eddie Marsan in your movie and barely give them screen time! On the plus side of things, the violence and dialogue is often taut and tart respectively, backed by a scorching rocky hipster soundtrack.
Farrell is good value as a tough guy, Winstone does what he does best, menacing of course, while Thewlis steals the film as a wired cool cat with menace surprisingly lurking in is heart.
As a whole it fails to hit all the right spots, but enough in here for neo-noir fans to feed on as an appetiser to a more fulfilling noir meal.
Jaime-b 24 March He is now faced with the dilemma of either returning to his previous nature or beginning a life of new found love in LA.
As a whole it is entertaining if not taken to seriously but may not appeal to any serious film enthusiast. It just kills me that once again I had the un fortunate chance to trust someone with an answer to a simple "Is it any good?
People all around me were bashing this movie before I watched it and I heard so many things. I heard it stole the plot from Carlito's Way, I heard the ending was disappointing, I even read comments like "Keira Knightley has no tits and less talent".
The only thing I'm disappointed of is myself for believing all of these s Yet I'm kind of glad I read and heard all the negative responses, because it caught me off guard even more than it probably would've if I'd seen it without somebody's thoughts.
The acting and script were superb. Knightley's performances almost made my heart skip a beat, Farrel's teeth grinding and weird expressions got me all worked up about his problems, Winstone was giving me the creeps and Thewlis got me laughing out of my breath.
Great script, superb acting - if you're a fan of one of the actors in here, a fan of British cinema, a fan of the crime genre or a fan of quality pictures in general - this is the movie for you.
Oh and remember - when it comes to art and judgement - trust ONLY yourself! You owe it to yourself to go see this movie!
Glimpses of what could have been a far better film appear at regular stages throughout what is essentially another 'Landan' crime flick.
You could be forgiven for assuming the predictable plot is actually a clever ruse, with a huge twist or revelation certain to turn events on their head in the back end of the film.
But alas, William Monahan's directorial debut points you in one direction from the start, then follows a fairly straight line for it's minutes run time.
What elevates this movie from Danny Dyer fodder is the rather exciting cast of British and Irish big guns, with David Thewlis perhaps the most interesting character and screen presence.
The likable Colin Farrel's posh-boy cockerney accent is consistent enough not to distract, and you certainly root for his reluctant protagonist Mitchell.
Ray Winstone is typecast as the needlessly racist villain, and Anna Friel is perky and trashy as Farrell's screen Sister. Ikea Knightley on the other hand, is wooden and unconvincing as the 'Superstar' whom Farrell's Mitchell is hired to protect.
Either way, she makes for a particularly unattractive and unconvincing screen starlet, and when her Charlotte laments that Actresses are merely in films to make the male heroes look good, she struggles to do even that.
The under explored sub-plot regarding Mitchell and a young thug shamelessly bookends the film with a predictable climax 'borrowed' heavily from the far superior Carlito's Way, and left me for one, thinking about the far better film this so-so effort could have been.
The characters can all be labelled with a single word villain, victim, druggie etc , bereft of any depth or colour.
Farrell plays Mitchell, fresh from prison and determined to go straight, within half-an-hour, he has been offered a choice of two jobs.
One working as a debt collector for tough and possibly homosexual who cares? Needless to say, Winstone doesn't take kindly to being refused and sets his sights on hurting Mitchell as revenge hasn't he got better things to do?
The movie doesn't ring true at every juncture and the only pleasure the viewer grab, is when watching Thewlis's thinly veiled Withnail impression or with the music on show.
Do yourself a favour and watch Layer Cake instead. If I only had three words to use to describe this film they would be Classic, Cool and Clever.
Ray Winstone's Gant presence is eagerly anticipated and arrives at last almost a quarter of the way into the film. An impressive stately Rolls Royce signals this is the arrival of an important person even before he steps out onto the pavement.
Colin Farrel Mitchell could be auditioning for James Bond. He is cool, calm and collected. Nobody and nothing spook him. Everybody smokes, a lot, and swears, a lot.
The film has a calm linear flow for a crime thriller but several twists and turns toward the conclusion remind you that within this genre,clever can often be more stimulating than too much blood and violence.
Although there are a few quite gruesome scenes. However, the nasty bits are not dragged out and enough is seen for you to get the picture of what's going on!
Winstone, Farrel, Thewlis, Friel give good performances and present interesting roles. Knightly however gives a rather wooden performance in a boring role.
Humour is weaved within this relatively serious film and classic 60's music from bands such as the Yardbirds add to the recipe which make this rather tasty.
A few unexpected twists of fate toward the end seal this stylish film. London Boulevard is a big screen adaptation of Ken Bruen's fictional crime novel of the same name and a directorial debut for William Monahan of Departed fame, for which he contributed the screen play in Martin Scorcese's seminal Oscar triumph.
Monahan manages to assemble a pretty interesting cast for the job matching big name attractions notably Colin Farrell for the lead of Mitchell an ex-con trying to place his life on the straight and narrow who finds complications aplenty but centrally in the shape of Keira Knightley playing Charlotte, a reclusive actress in need of Mitchell's muscle in order to fend off pesky paparazzi, perform some odd jobs around her abode whilst also seeking comfort in his softer side when making use of Mitchell as a confidante.
The strength of the piece is in the supporting cast who mainly transpire as conduits for Mitchells struggle with the temptations of a potential return to his old ways.
Leading the second tier is Ray Winstone as crime lord Gant who genuinely creates an atmosphere of dread when on screen as he attempts to lure Farrell back to the dark-side.
David Thewlis is equally adept as he plays Jordan a drug induced failed thespian who is Charlotte's business manager. There are also roles for Ben Chaplin as a blundering hood whilst Stephen Graham and Eddie Marsan are shamefully under used in their minor roles.
As you might be thinking there is a lot a going on here and that's sort of where Monahan gets into trouble, the narrative is littered with plot-holes and semi developed ideas and characters such as Anna Friel who pops in and out the story as a Mitchell's troubled sister, this is largely a product of the derivative nature of the project.
Monahan seems to be tipping his hat at the types of movie he himself has indulged, for example there is clear a sense of early Guy Ritchie in style of the visuals, soundtrack and occasional attempts at humour.
The mood and tone owes more to Scorcese traits such as an angry gratuitous racism and overly proud glorification of the gangster life style.
It's a rarity when a film could be said to be too short, but one way London Boulevard could have been improved is an extra 45 minutes or so to pay attention to its many details.
The major task London Boulevard will have is proving it has any substance, it will be interesting to see if William Monahan will be encouraged to take this debut any further and perfect or enhance his directorial style with future work, if so this could be remembered more fondly as part of a bigger picture.
If not it will fall through the cracks of irrelevance rather quickly. I really enjoyed this movie, kept my eyes on the screen till the end.
I just couldn't get bored when the movie is full with events and so many interesting characters.
These characters are having their own interesting stories, and I think it was a good decision not to develop it more.
We see only what's relevant to Farrell's character. It's a mess from which the main character must get out. This movie isn't supposed to be profound, it's intense.
I enjoyed the storyline and wouldn't even dare to judge its credibility. I just put this in the "inside view" category. It's London the way tourists wont see it probably.
Acting was great for all cast! Negative reviews tended to criticise the narrative as being unfocussed.
The LA Times film critic, while praising the cinematography, a "beautifully bleak brush stroke of contemporary noir", and the "brutal extremes" of violence, wrote that "in trying to take a bite out of crime and another out of fame, [Monahan] ended up with more than he can chew for his first time in the director's chair".
The New York Times reviewer found the cockney accents "virtually unintelligible" and complained of "abbreviated, sometimes unnecessary subplots".
The film also received significant praise. Among positive reviews, Stephanie Zacharek of Movieline praised the cinematography of two time Oscar-winner Chris Menges , and the "aura of '60s stylishness", and noted that the violence is "deftly handled".
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Retrieved 16 September London Boulevard Reprint ed. New York City : Minotaur Books. Turner Classic Movies. United States: Turner Broadcasting System.
Retrieved 13 May Retrieved 7 June The Hollywood Reporter. Archived from the original on 19 June Retrieved 8 July Retrieved 28 July Gossip Jack.
Retrieved 24 June Screen Daily. Retrieved 6 February Matt's Movie Reviews. Archived from the original on 13 November Archived from the original on 17 March