 Rendition |
Metallikatz
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Puh ist das Bild schööööööön! 
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14.09.2007 09:50 |
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cornflake
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Metalli, da gibts auch ein Video zu 
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...und traten zusammen hinaus in den Nebel, der den Fuß ihres Leuchturmes immerwährend umgab. Und nach ein paar Schritten waren sie ganz darin verschwunden. (Nachtschatten)
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14.09.2007 09:58 |
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Nightwish
unregistriert
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@Metalli
Du musst dir mal die Ausschnitte auf der Seite von *Rendition* ansehen. Da wird einem wirklich heiss und kalt. Ich habe Jake noch nie sooo schön gesehen!!! 8o
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14.09.2007 09:59 |
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Metallikatz
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*Metallidiearbeitliegenlässtundgleichhinrennt*
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14.09.2007 10:04 |
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Eva
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14.09.2007 10:32 |
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josie81
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Wow, was für eine aufwändige Webseite! Und ihr habt recht, Jake sah kaum je heisser aus! 
Na ich bin mal gespannt auf den Film!
LG
__________________
I am Jack's complete lack of surprise... - Fight Club
Jake rocks our World
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14.09.2007 19:05 |
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Andi
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Ich wollte mir die Website auch ansehen, aber mein Uralt-PC packt die leider nicht
. Dabei hätte ich mir so gerne die Ausschnitte angesehen
!
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14.09.2007 21:18 |
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brando
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Themenstarter 
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| Zitat: |
Original von franke11
Wie sind denn jetzt eigentlich die Kritiken über Rendtion? Schon mal jemand was gelesen? |
Ich hab gerade eine Premierenkritik vom 7. September gefunden. Der Rezensent bricht leider nicht unbedingt in Lobeshymnen aus. 
Rendition
By TODD MCCARTHY
A New Line Cinema release presented in association with Level 1 Entertainment of an Anonymous Content production. Produced by Steve Golin, Marcus Viscidi. Executive producers, Toby Emmerich, Keith Goldberg, David Kanter, Keith Redman, Michael Sugar, Edward Milstein, Bill Todman Jr., Paul Schwake. Co-producer, Mark Martin. Directed by Gavin Hood. Screenplay, Kelley Sane.
Douglas Freeman - Jake Gyllenhaal
Isabella El-Ibrahimi - Reese Witherspoon
Senator Hawkins - Alan Arkin
Alan Smith - Peter Sarsgaard
Anwar El-Ibrahimi - Omar Metwally
Abasi Fawal - Igal Naor
Khalid - Moa Khouas
Fatima - Zineb Oukach
Corrinne Whitman - Meryl Streep
It’s not easy to make a dull film when your central components include terrorism, torture, secret CIA operations and contempo Middle East intrigue, but Gavin Hood has done it with “Rendition.” By underplaying the melodrama in the presumed hope of seeming subtle when Kelley Sane’s script is so baldly melodramatic, the “Tsotsi” helmer drains the life out of an obviously explosive subject. Despite the starry cast, this middlebrow stab at political relevance won’t muster more than fair B.O. upon Oct. 19 Stateside release.
Title refers to the U.S.’s policy (introduced by the Clinton administration, one line of dialogue points out) of “extraordinary rendition,” by which suspected terrorists can be moved to other countries to be tortured without legal restraints or ramifications.
Which is what happens to Anwar El-Ibrahimi (Omar Metwally), the good looking, Egyptian-born, American educated and accented husband of blond soccer mom Isabella (Reese Witherspoon) on his return to Chicago from a business trip in Africa.
Anwar’s state-sponsored abduction is triggered by a suicide bombing in an unnamed North African country, which kills a top CIA case officer. Stepping into the breach is young analyst Douglas Freeman (Jake Gyllenhaal), who soon finds himself observing the well-practiced torture techniques (water-soaked hoods, electrodes, good old-fashioned hitting) of past master Abasi (Igal Naor), the local top cop for this sort of thing.
The CIA’s sliver of evidence against Anwar is records of a few cell phone calls to him from someone who may only coincidentally have the same name as a known terrorist. But that’s enough for the CIA’s terrorism guru (Meryl Streep, brandishing a slight Southern accent and too-obvious negative commentary about her nasty character) to have Anwar “put on a plane” and officially become a missing person.
Concerned, the very pregnant Isabella heads to Washington, D.C., and uses an old college flame (Peter Sarsgaard), who now works for a senator (Alan Arkin), to try to get to the bottom of her husband’s whereabouts.
Balancing this out is a surreptitious romance between Abasi’s lovely daughter Fatima (Zineb Oukach) and Khalid (Moa Khouas), whose brother leads a local radical Islamic group Abasi is trying to break.
Given that he has no expertise to bring to the table and is strictly an observer until very near the end, Freeman is an exceptionally dreary fellow, and Gyllenhaal does nothing to give him any quirks or wrinkles; all he does is represent “conscience” in the most opaque, low-key way.
Even Witherspoon, normally the most spirited of performers who can inject even limited characters and blah scripts with her own spark, can do little but mope around and search for different ways to look worried . A limited acting exercise, to say the least.
Thesps playing the Arab characters have a little more juice in them, most prominently Metwally, who deserves some points for spending a good deal of the running time suffering abuse while constrained nude on a chair in a dungeon, and Naor, who actually gets to show more than just the vicious side of a stock character due to his tough cop character’s domestic turmoil .
Locations skip around a lot and Hood’s direction provides scant fluidity to knit them together. Physical aspect of the production is OK , although one hopes that there is more verisimilitude to the North African scenes (shot in Morocco) than there is for the Chicago section; the block on which the Witherspoon character lives was quite clearly lensed in California, as it looks absolutely nothing like any street in Illinois.
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Illegale Rollatorenrennen fahren!
bj auf die Frage, wie sein Vater den Ruhestand gestalten wird
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28.09.2007 16:32 |
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cornflake
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http://www.collider.com/entertainment/ne...587/tcid/1/pg/2
Hier gibts ein paar tolle Rendition Ausschnitte!
Viele auch mit Jake.
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...und traten zusammen hinaus in den Nebel, der den Fuß ihres Leuchturmes immerwährend umgab. Und nach ein paar Schritten waren sie ganz darin verschwunden. (Nachtschatten)
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30.09.2007 21:24 |
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Nightwish
unregistriert
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Bei Filmstarts.de gibt es jetzt auch die Kritik zu *Rendition*, der im deutschen übrigens *Machtlos* heisst. Leider ist der Film mit 4/10 Punkten nicht gerade gut weggekommen.
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11.10.2007 19:20 |
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Herbie 
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Ach, wenn man jemand Nettes hat, mit dem man da zusammen rein geht, macht der Film gleich doppelt Spaß. 
Dann hat man schon mal 08/10. 
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11.10.2007 19:44 |
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Nightwish
unregistriert
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@Herbie
Da hast du natürlich auch wieder Recht!
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11.10.2007 19:54 |
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Ranger71
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Hab' mir gerade die Trailer angeguckt - der Film sagt mir aber auch gar nichts - Jake sieht toll aus und wieder anders (sehr wandlungsfähig)...
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BBM - now and forever on my mind
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11.10.2007 21:47 |
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cornflake
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Weiß jemand, wer Jake im deutschen Rendition seine Stimme gibt?
Ich hab mir grad den Trailer angesehen.
Wer spricht jake?
Woher kenne ich die Stimme?
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...und traten zusammen hinaus in den Nebel, der den Fuß ihres Leuchturmes immerwährend umgab. Und nach ein paar Schritten waren sie ganz darin verschwunden. (Nachtschatten)
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19.10.2007 23:04 |
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Schäfchen
unregistriert
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meine "geheime" quelle verweigert leider noch die aussage ... "machtlos" ist noch nicht in der synchronkartei aufgenommen.
normalerweise spricht ihn marius clarén, der auch tobey maguire spricht ... wird also spannend, wie sie das bei "brothers" machen werden ... ich bin ja für OV im kino!!!!
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19.10.2007 23:15 |
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brando
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Themenstarter
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Heute ist Rendition in den USA angelaufen.
Die New York Times bespricht ihn so:
When a Single Story Has a Thousand Sides
By A. O. SCOTT
Published: October 19, 2007
Given the tenor of political discussion these days, it is inevitable that someone with a loud voice and a small mind will label “Rendition” anti-American. (But look! A quick Internet search reveals that some people already have, many of them without even bothering to see the movie.) It is, after all, much easier to rant and rave about treacherous Hollywood liberals than to think through the moral and strategic questions raised by some of the policies of the American government. But it is just these questions that “Rendition” tries to address, in a manner that, while hardly neutral — it may not shock you to learn that the filmmakers come out against torture, kidnapping and other abuses — nonetheless tries to be evenhanded and thoughtful.
Everyone in the movie, that is, receives a sympathetic hearing. The North African police chief who supervises the beating and water-boarding of an innocent prisoner, the American intelligence official who puts the prisoner into the torturer’s hands, the senator who hesitates to intervene. They may be villains, but they see their actions as justified, something they have in common with the conscience-stricken Central Intelligence Agency analyst and the reluctant jihadist who are their adversaries.
“Rendition” may be earnest, but it is hardly naïve. Rather, it tries to be thoughtful and respectful of complexity while at the same time honoring the imperatives of commercial entertainment. It has timely issues and serious ambitions, and it also has movie stars — Reese Witherspoon with a huge pregnant belly! Meryl Streep with a Southern accent! Jake Gyllenhaal with sad, sleepy eyes! — as well as young romance, breathless chases and violent explosions. Honestly, what could be more American than that? (Now might be the time to note that the director, Gavin Hood, is from South Africa. His last film, “Tsotsi,” won the Oscar in 2006 for best foreign-language film. The screenwriter here is Kelley Sane.)
So “Rendition” is a well-meaning, honorable movie. Which is not to say that it is a very good one. It suffers especially from a familiar kind of narrative overcrowding. Mr. Sane and Mr. Hood frantically weave together plot strands in an effort to visit as many ideological, religious and emotional battlegrounds as they can, and the result is a degree of combat fatigue, as well as information overload. The filmmakers obey the current rule in Hollywood that states that a picture with large themes and a one-word title must also have multiple, chronologically de-centered storylines. (For your consideration: “Crash”; “Syriana”; “Babel.”) But they don’t handle the complications very well, and try to pull off a third-act surprise that is less a plot twist than a logical unraveling. You may spend the last 15 minutes rubbing your eyes and scratching your head in puzzlement rather than fighting back tears.
But up until that point each story, taken on its own, yields some touching moments and canny insights. At the center of the hubbub is Anwar El-Ibrahimi (Omar Metwally, who stole a scene in “Munich”), an Egyptian-born engineer who has lived in the United States for his entire adult life. On his way home to Chicago from Cape Town, Anwar is snatched at the airport in Washington and “rendered” into the brutal penal system of an unspecified North African country where a suicide bombing has recently killed, among others, a C.I.A. operative. Back home Anwar’s American wife, Isabella (Ms. Witherspoon), unable to find out what has happened to him, tries to work her only government connection, an old boyfriend, Alan Smith (Peter Sarsgaard), who now works on the staff of one Senator Hawkins (Alan Arkin).
Meanwhile, back in North Africa, the police chief, Abasi Fawal (Igal Naor), when he isn’t torturing Anwar in a dank, shadowy dungeon, is worrying about his oldest daughter, Fatima (Zineb Oukach). She has been hanging around with Khalid (Moa Khouas), a poor, soulful artist with a sad smile, a motorbike and connections to the terrorists. And Douglas Freeman (Mr. Gyllenhaal), a C.I.A. analyst whose Bogart- (or perhaps Clooney-) esque dissolution was interrupted by the bombing, begins to have second thoughts about what Fawal is doing.
Freeman and Fawal conduct an argument about ends and means that is mirrored by the debate between Smith and Corrinne Whitman (Ms. Streep), who runs the rendition program with unflappable conviction. The tussle in Washington is more pointed and emphatic — “Americans don’t torture,” Ms. Streep hisses, while Mr. Sarsgaard hisses back about due process and the rule of law — but the one in North Africa has a more pungent atmosphere and juicier acting.
Mr. Naor, with his shiny head and bushy eyebrows, is as emphatic in his gestures and expressions as an actor in a silent movie, with a gruff, rolling baritone that makes you glad that “Rendition” isn’t one. Mr. Gyllenhaal, for his part, tries his hand at minimalism, conveying his character’s ethical quandary by moping and mumbling. The two of them are an oddly captivating team.
For her part Ms. Witherspoon retains her stunned, steely resolve until the script calls upon her to start screaming, while Ms. Streep savors another chance to embody the chilly self-confidence of power. Ms. Oukach and Mr. Khouas, as the young, star-crossed lovers, have little to do but regard each other with wounded, wide-eyed longing; this is not a movie with much need for ingénues.
And yes, it could have used more subtlety, a lighter touch, a more disciplined narrative. But all its clumsy efforts are toward an honest and difficult goal, which is to use the resources of mainstream movie-making to get viewers thinking about a moral crisis that many of us would prefer to ignore. Of course it’s disappointing when such efforts don’t succeed, but I wouldn’t want to live in a country where filmmakers never tried.
“Rendition” is rated R (Under 17 requires accompanying parent or adult guardian ). Its torture scenes are brutal but not gratuitous or overwhelmingly graphic.
__________________
Illegale Rollatorenrennen fahren!
bj auf die Frage, wie sein Vater den Ruhestand gestalten wird
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19.10.2007 23:58 |
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Nightwish
unregistriert
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Ich denke, dass sie bei "Brothers" Tobey Maguire von Marius Clarén sprechen lassen. Tobey ist der bekanntere der beiden in Deutschland.
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20.10.2007 17:11 |
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Kessi
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Kann ja sein er spricht BEIDE...eben nur mit ein wenig verstellter Stimme...geht ja auch
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20.10.2007 18:11 |
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