Zeiten des Aufruhrs

Leonardo DiCaprio und Kate Winslet vollführen ein schauspielerisches Konzert, sie sind wirklich hervorragend. Der Stein des Anstoßes besteht im Drehbuch und in der Psychologie dieser Figuren. Die Handlung ist im amerikanischen Hintertüpfingen angesiedelt, somit kann der Zuschauer keinen mitreißenden Fluss und irgendwelche große Action erwarten, dich das Verhalten der Protagonisten, Mittdreißigern, ist fast lächerlich kindisch. Ein Ehepaar mit Kindern versteift sich auf die Vision von einem süßen und sorgenfreien Leben in Paris, das sich die beiden als Paradies auf Erden herbei gedichtet haben. Mich irritierte unglaublich vor allem die Gestalt von Kate Winslet, so als möge sie weder ihren Mann, noch die Kinder und schließlich auch sich selbst. Ich würde ihr empfehlen, sich den Dokumentarfilm A l´Est de moi anzuschauen, dann würde sie sehen, was ein Leben in Paris mit sich bringt. Mendes selbst ist es gelungen, die Naivität von Mittdreißigern, die sich wie pubertierende Teens verhalten, einzufangen und ins Lächerliche zu ziehen. (02.02.2009)

Kate Winslet and Leonardo DiCaprio should at least get an Oscar nomination for this, that’s for sure. Revolutionary Road it’s not the type of drama that wants to demolish you in the end, the emotions it conveys are not that intense that everyone will feel them, but those who do will be left with a low-key but deep feeling of bitter melancholy for a long time, which for me it’s a lot more impressive than a straightforward emotional explosion. I’d say that Revolutionary Road owes most of its quality to the perfectly chosen soundtrack. IMHO, if the ending had a different score, the entire impression of the film would be different (and, more importantly, much easier to grasp for most of the audience). Personally, it suits me the way it is now. 95% (29.12.2008)

I can already see the lamentations about how some people got the second American Beauty and others didn't, but I can say for myself that Sam Mendes has drained me of emotions as no one else has in a long time. It’s gentle, in every way sensitive and precise (an Oscar for Roger Deakins, please!), and yet still deeply real and honest. Leo (I’m also rooting for a statuette here) and Kate were so perfect - in many ways, they reminded me of Paul Newman and Liz Taylor in Cat on a Hot Tin Roof - in that I found so many of "my own" aspects in their dialogue that it gave me chills, even though I’m not married yet. I'll have to pick an afternoon screening at the movie theater with a small audience because I don't want to cry in front of a full house. I don't know if I ever wrote this in a comment, but this is one of the best movies I've ever seen in my life. (29.12.2008)

If you commute every day to a job you don't enjoy, if you feel that life is monotonously flowing through your fingers, if you think that – in the words of one of the characters – you are just running away from the hopeless emptiness your life, and if you are gathering the courage to finally do something about it, then this film will sweep you away inside. An emotional blast that is much closer to American Beauty than it appears at first glance, thanks to the dilemmas that the main characters in both films have to deal with (though their motivations are different). And the human relationships, which escalate with incredible force throughout the film, choke you like a noose around your neck. A film that in terms of emotion and depth leaves all the relationship dramas of a few years back in the dust. In my opinion, Mendes’s best film. (31.12.2008)

The prolog to the War of the Roses wrapped up in a nice little package destined for express delivery to the Academy. Simply family drama of the likes of In the Bedroom. If it weren’t for the last half hour when they are playing a little too hard on that “Oscars for everybody" string too obviously, I would give it full marks. Mendes’ directing reminisces about his theatrical beginnings and Deakins’ camera holds back sensitively this time. He leaves almost everything to the actors and the realistic nature of problems like “and what now with an empty life...". And that’s good. But despite everything, this is Mendes’ weakest movie yet. On the other hand, bring on more “weak" movies like this. (29.12.2008)