Bombshell - Das Ende des Schweigens

Because I’m not American, I have never heard about that host who went against Trump in her show while the whole nation was watching. So the film barely aroused my interest. The thing I enjoyed was looking at Margot, Nicole a Charlize. And I’m not talking just about their beauty, but about how the make-up artist managed to make them look almost unrecognizable. But that’s about it. (27.01.2020)

The opening five minutes scared me because everything suggested that Charles Randolph was trying to replicate the actual hyperactive style of Uncut Gems. Luckily, this zest quickly subsided and the story began to be told in a more classical biographical rhythm, which despite the ambiguous tone of some key scenes, lays the cards on the table too quickly and does not allow the main stars to shine as brightly as their key roles deserve. Nevertheless, not only does the unwavering Nicole Kidman shine, but so does Margot Robbie, who outdoes herself and it is her Kayla who pulls the whole intense case above average. However, it only partially manages to break free from the obvious formula, since the ending neither moves you nor crushes you. And that is a serious mistake with a topic that is still painfully relevant. (20.01.2020)

Jay Roach sollte allein für die Kombination von Charlize Theron, Margot Robbie und Nicole Kidman einen Kuss bekommen. Ein absolut großartiger Film. Ein aktuelles und wichtiges Thema. Und als Sahnehäubchen gibt es Robbie in den Armen von Kate McKinnon. Die Hölle ist zugefroren. Der tschechische Verleih hat seine Macht verloren. (01.02.2020)

A procedural that, thanks to its extremely soft sensitive topic, seems to be angling for the Oscars, but it’s not that sensational. It's just one of the many corporate American #metoo type of stories that has great performances, timing and editing, moves very quickly and actually has a solid narrative value, but will eventually be forgotten because something other than militant feminists vs. conglomerates, or flamboyant Trump, will be in vogue. (23.03.2020)

More or less a missed chance... A film about an important topic, which was intended to make available and clarify it ideally to everyone, and yet it is such ordinary and unsurprising boredom intended only for a narrow circle of audience members. The most interesting character was played by Margot Robbie, probably because she was made up, or the fact that the screenwriter put several other characters into her, while Nicole Kidman almost didn't appeal to me and Charlize Theron turned out only a little better. I forgive both women, but the second most interesting character was Alies played by John Lithgow, which is hardly something that the creators intended. (19.12.2020)

How one lawsuit can ignite a tempestuous campaign as a result of which fat and insecure employers can no longer prey on young, scantily clad girls. It’s carried mostly by the excellent actors, but the attention is also held by the frantic reservoir of information and dialogues. The story, however, shoots out of nowhere without an above-par directing framework, not to mention the clearly truncated female efforts, which lack a firmly focused argumentative value and rely only on us having to automatically relate to the heroines, which is not always possible, because they are voluntary and proud members of the heinous media (at least that’s how it’s portrayed) and are far from likeable figures themselves. Also, you soon get quite lost among that deluge of names and characters, of whom, paradoxically, the best was John Lithgow and his amazing make-up, he handles his role with panache. 60% (24.03.2020)

Ein Film zum Thema „MeToo“, vielleicht der erste, aber sicher nicht der letzte. Solche Fälle dürfen keinesfalls heruntergespielt oder die Opfer entehrt werden. Was ich am Film hervorheben möchte – die Masken, den verdienten Oscar und andere Auszeichnungen. Ich würde sogar sagen, dass die Maske von John Lithgow ausreicht. Schauspielerisch dominieren gerade er mit seinem abscheulichen, ekelhaften und sturen Charakter und Margot Robbie mit ihrer Zerbrechlichkeit, Naivität und ihrem blinden Vertrauen. Bei Nicole Kidman bin ich entsetzt und verwirrt, weil ich das Gefühl habe, als hätte ihr jemand eine Maske aufgesetzt. Ich befürchte aber, dass sie solche „Verbesserungen“ gemacht hat und nun ohne Maske spielt. Bei Charlize Theron bin ich unschlüssig. Die anderen Charaktere sieht man nur kurz. Ehrlich gesagt war ich nicht in der Lage, sie in die Handlung einzuordnen. Eine Ausnahme bildet Malcolm McDowell, dessen kurzer Auftritt entscheidend ist. Sein Satz zu John Lithgow in seiner aggressiven Defensive, dass dieser Blickwinkel niemanden interessiert, ist zeitlos und zieht sich durch alle ähnlichen Fälle bis in die Gegenwart. Und in der Zukunft wird es auch so sein. Was mir am Film nicht gefallen hat – allgemein gesehen gefiel mir das Konzept nicht so gut, andererseits ist es nicht langweilig gedreht, die Handlung eskaliert und einige Dialoge sind wirklich gelungen. Also schöne drei Sterne. (30.12.2023)

The topic is certainly interesting, but its execution unfortunately doesn't stand out from the ordinary average. I would have welcomed at least some insight into the women most affected by the infamous case. In this regard, I can only speak for myself and say that it's truly scary how our corrupt world operates. However, labeling a man as a sexual predator and a woman as his victim is not nearly as black and white as it may seem at first glance... In the end, after watching the film, I was more dismayed by the fact that Charlize Theron and Nicole Kidman could barely control their facial expressions as a result of the brutal intervention of the make-up artists than by the case itself. It looked as if both ladies had indulged in not very attractive plastic surgery. (55%) (11.03.2021)