Haywire - Trau' keinem
Regie:
Steven SoderberghDrehbuch:
Lem DobbsKamera:
Steven SoderberghMusik:
David HolmesBesetzung:
Gina Carano, Michael Douglas, Michael Fassbender, Ewan McGregor, Channing Tatum, Bill Paxton, Antonio Banderas, Michael Angarano, Mathieu Kassovitz (mehr)Streaming (5)
Inhalte(1)
Die toughe Spezialagentin Mallory Kane ist aufgrund ihrer Perfektion gefragter denn je. Für das private Unternehmen ihres Ex-Freundes Kenneth erledigt sie eine Undercover-Mission nach der anderen. Nach ihrer Rückkehr von einer erfolgreichen Geiselbefreiung in Barcelona, wo sie den attraktiven Kollegen Aaron kennen gelernt hat, geht es nach Dublin. Dort soll sie sich als Ehefrau des britischen Agenten Paul ausgeben. Der Auftrag entpuppt sich als Falle. Mallory ist plötzlich die Gejagte und ahnt nicht, wem sie noch trauen kann. (ORF)
(mehr)Kritiken (9)
Haywire möchte eine Thriller-Tour mit Stil, einer coolen Hauptheldin, physischer Action und einem klugen Plot sein. Er ist aber nur ein Unsinn mit Stil, der sich selbst zu ernst nimmt. Für ein Entspannungsgenre ist der Film überflüssig zu unübersichtlich und seine Hauptheldin ist eine gewalttätige Lesbe, deren Schicksal Ihnen völlig egal ist. Ein diskutable Popkultur-Mischung.
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Soderberghseits ist dies eigentlich eine eklatant fiese Sache. Einen solch einfachen B-Movie-Mist mit solch einem derartigen erzählerischen Feingefühl, Abwägung zu drehen, jedoch gleichzeitig mit Momenten, wo sich Haywire - Trau' keinem prunkvoll zur guten alte Ära der VHS-Schätze bekennt (ikonische Aufnahmen des Gesichts der Heldin, Ende (!!!), bedeutungslose Schnitte in scharfes Hintergrundlicht usw.) . Die Vorteile des Films kommen insbesondere dann zum Vorschein, wenn man ihn in den Kontext der nervigen Mode weiblicher Agenten stellt (Salt, Colombiana) stellt - Soderbergh irritiert, beruhigt, lacht aus, bleibt im Rahmen der Absichten seines klinischen Modus, jedoch diesmal mit ein wenig Chill-Out-Geschmack (nahezu eine Art Elevator-Musik mitsamt einer ruhigen Schnittarbeit, welche dem Ganzen in der Tat den Chill-Out-Touch verleihen). Haywire - Trau' keinem wirkt dank des unsinnigen Charakters, der vollends bewusst ist, amüsant. Es ist ein Film, der wie das mögliche Entré einer B-Movie-Serie erscheint - doch für einen schlappen B-Film ist er doch zu sehr reflektierend selbstbewusst und absichtlich subversiv. Es ist eben Stevens zielgerichteter Ausreißer, eine lustige Anekdote, die leider nicht so weit reicht wie Drive und sich mit viel Nutzlosigkeit zufrieden gibt. Paradoxerweise hat mir gerade diese Törichtheit geradezu Spaß gemacht. [70%] P.S. Gina Carano hat wirklich Mum, im Tragen eines Bourjois-Kleides sowie in Raufereien.
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Deadly Is the Female. Soderbergh approached the cohabitation of a man and woman in an absolutely logical way – as an action thriller. The film’s leitmotif is the necessity of overcoming the collapse of one’s first serious relationship. Meanwhile, the female protagonist tries marriage, seen by both participants from the beginning as a game full of pretence and rather abruptly ended after the wedding night, which has the nature of a life-and-death struggle. The only man she can depend on is her father, whose brains she wants to blow out and from whom Mallory herself keeps no secrets. So, she finds certainty only in returning home, not in a fake relationship with one of her “tried and tested” partners, whom she doesn’t even know properly. ___ Unlike in “patriarchal” spy thrillers (e.g. Bond movies), the woman here is not a negative character, but actually the only positive one. She doesn’t gain men’s respect with her charm and intellect, but with her physical dominance. Though she uses her body as she would to erotically entice a man (to act as a mere decoy is beneath her level), she does so in a more energetic way. Thanks to the raw content of the elegantly filmed fight scenes (unlike Bourne-style shaky-cam filming), the feeling of physical contact is far more intense than in action movies depending exclusively on sharp editing. ___ Watching the protagonist’s body in motion is doubly pleasurable for male viewers, as her repeated displays of control over the situation (rather than the camera’s control over her body) mitigates the feeling of voyeuristic guilt. Here, a beautiful woman does not appear as an object of leering gazes, but as a goal- and action-oriented person who takes greater initiative even in the matter of sex. ___ During the first two-thirds of the film, Mallory’s dominance over the image is further multiplied by the fact that this involves the retelling of previous events through her flashbacks. We are provocatively and repeatedly made aware that she is steering her narrative to a particular character who is basically unimportant for the story. Our “eye”, represented by the camera in the diegesis, is not even allowed into the car in which the protagonist summarises her history. (This lends itself also to the interpretation that the terrified young man represents the typical action-movie viewer, whom Soderbergh is somewhat making fun of – that’s why, for example, Mallory constantly repeats important names, just as crucial information is repeated in Hollywood action flicks.) ___ The revealing of moments when Haywire uses the stripped-down action plot for the purpose of supra-genre commentary does not comprise the film’s essence, but its value added. At its core, it is a brisk, though dramaturgically loose female variation on Bourne movies, or rather (given the B-movie subject matter) Commando, in which an emerging action star crushes his (for the moment) more famous acting colleagues between his thighs on various continents and nothing can stop us from savouring the action in and of itself. Chuck Norris may know how to divide by zero and Bond’s double-o gives him a license to kill, but Gina Carano would nullify both of them before they could utter the word “shit”. 80%
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(weniger)
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Soderbergh goes against expectations once more - although that was actually expected - and offers a simple fable in which the plot comes last. The schematics of the director's rendition of the secret agents and even more secret leaders evoke in me a mockery of the rules of the genre rather than its adoration. I'm no film scholar, so I don't have to do any digging into it. I was entertained by the clear action scenes, dominated by Gina Carano's physical abilities, and Soderbergh's unorthodox approach. So when Holmes' bizarre music plays during the hostage liberation scene, which evokes cheap spy themes, I sank into my seat and rode on a fully positive wave until the end. PS: I'd damn well change places with Fassbender in the leg choke scene.
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Neither fish nor fowl. Soderbergh built the film on the participation of martial arts champion Gina Carano, and she is great in the action scenes as expected. When character acting is necessary, however, she clearly lags behind. Not that she is horrible, but she does not master the more complex nuances of acting and cannot present her character convincingly. She lacks the charisma that a star in the lead role needs. Soderbergh may have hired a whole range of famous names, but they are just tagalongs. I'm afraid there won't be that many people that Soderbergh will enchant with this because this is neither art nor a B-action movie. One would expect Soderbergh, as a symbol of independent film, to sneak a whole range of other meanings into the film, but it somehow lacks that. Haywire is worth a single watch, but I wouldn't bother a second time. Overall impression: 55%.
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The whole thing is nothing-like, empty. The action scenes are top-rate (the chase through the forest!), in terms of acting - nothing to criticize, but the fillers between one piece of action to the next bored me to death. I’m sorry, but actors just reeling off their lines without a thought just isn’t enough for me. Haywire is ingeniously directed, just the frequently inappropriate music bothered me.
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Everything but cliché. An excellent film that you need to learn to like. Gina Carano is an incredible fighter and the action scenes are amazing, in my opinion better than in the Bourne trilogy; they are dense, believable, physical. You can feel MMA with every second. Packed with stars, but only on the surface. Soderbergh plays incredibly well with the given genre and essentially shows everyone the middle finger. Many people won't appreciate this film, but a few will really like it.
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Steven Soderbergh is a director who is able to attract stars of the silver screen for his films. The same goes for the film "Haywire". Michael Fassbender, Michael Douglas, Ewan McGregor, Antonio Banderas, and even Channing Tatum are actors who have already made a name for themselves, some of which will never be forgotten. None of them have enough space in the movie because the attention is focused on the main character, Gina Carano, a fitness instructor and martial arts specialist. It is evident in the action scenes, they are tough, animalistic, and perfectly executed. And not only thanks to Gina, but also thanks to the other actors. The trailer, where Gina confronts Michael Fassbender, clearly shows that the action aspect is excellently developed, the choreography simply works. But that's all there is to it. Soderbergh presents us with a story that is incredibly small and simple. From a person who made all the "Ocean's" movies and also the excellent film "Contagion" from the same year as "Haywire", I would simply expect more. The random connection with the young man Scott, to whom the main character actually tells everything, is, in my opinion, unnecessary and does not have any proper justification. In the end, it is just an ordinary film about how a tough agent wants to find out what happened, why she was betrayed, and then, of course, seeks revenge. There is no big action finale either. Soderbergh took it as a break and critics will give it good ratings just because it's Soderbergh. This is just bad. More: http://www.filmovy-denik.cz/2012/07/runaways-rok-jedna-nedotknutelni-johnny.html
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Of all the action movies in which the female lead character kicks the ass of all the men present that I've had the pleasure to see so far in my life, the thriller Haywire enthralled me the least, therefore, barely at all. I watched it more or less for the decent-sounding cast, but I didn't give a damn about the plot from just a few minutes in. (40%)
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