Aloha - Die Chance auf Glück

Cameron Crowe hasn't bitten off just one big mouthful, but maybe three at the same time. I tried in vain to understand the situation as the screenplay spewed forth old loves, new loves, the army, interpersonal communication, satellites, billionaires, mental traumas, Hawaiian myths, and local traditions. However, somehow this disparate jumble comes together in the last act and is skillfully stitched together thanks to excellent casting, led by Bradley Cooper. I want to take Aloha as a message that even the biggest life confusion can be successfully and happily fixed, and because of that, the individual successful scenes (a silent conversation, a glance through glass) are true gems that I can't resist. 70% surprisingly rounded up, not just due to the strong antipathy from the surrounding reviewers. (18.04.2020)

Manche würden schreiben, dass es ab und zu angenehm ist, sich einen Film anzusehen, bei dem man von Anfang an schon irgendwie ahnt, dass er ein gutes Ende haben wird, und bei dem man sich gut fühlt. Ich würde schreiben, dass es notwendig ist. Und nicht nur manchmal. Aloha - Die Chance auf Glück ist genau so ein Film. Das super sympathische Trio Bradley Cooper, Emma Stone und Rachel McAdams, die sonnigen Hawaiiinseln, das Echo der Vergangenheit, lokale Traditionen und Mythen, ein perfekter Soundtrack (von der Musik der "Eingeborenen“ über The Who bis hin zu Elvis, Bowie oder Vedder)… Und ständig das Gefühl, dass der Film kein schlechtes Ende haben wird, egal, wie das Finale aussehen wird. In einem gewissen Sinne kommt mir Aloha wie eine Kombination von Sideways und einem klassischen romantischen Knüller aus den 50er Jahren vor (in dem sich aber wahrscheinlich eine Frau zwischen zwei Männern entscheiden würde). (30.12.2018)

A film that doesn't really start to work until the last 15 minutes, which have both its funniest (or actually only funny) scene with a whiny Alec Baldwin, but more importantly it’s then that it slowly starts to move towards what could be described as its signature, whether in terms of the premise, the creativity or the genre. Unfortunately, everything except those final minutes is a hard-to-believe cinematic patchwork with no identity, genre-fragmented, and so bland and annoying at times in all its motifs and dialogues that my eyes and ears couldn't believe I was actually watching a project from the creator of We Bought a Zoo. The actors, with the exception of Emma Stone, have nothing to play with, although they do what they can, and I can't think of another case where the visual appeal of the setting has been left so untapped – but this time it suits pretty much the whole film.... 40% (13.12.2015)

Something like what I expected from Cameron Crowe, but something I didn't really want to see. It's already too nice, too pleasing, and I feel like Nicholas Sparks wrote it and Crowe just turned it into a film. If it weren't for Emma, who is always gorgeous and captivating in every role, and Alec and Bill, who never disappoint, it wouldn't really make much sense to watch. (31.08.2015)