David Ayers Policeilm "Street Kings" Paid by a corrupt Los Angeles – packed in mossy pictures
At the end of this film, Keanu Reeves rubs a wall, a wall in the room of his boss and mentors Jack Hiker (Forest Whitaker). Behind: Money, tons of from it, and by no means are it just American dollars that has this corrupt all corrupt policemen – and only those in "Street Kings" has traveled -. You can see Asian Reserves, Arabic, and somewhere in the middle of it, the yellow of a 200 euro seem lights up. It is one of the strongest scenes of the movie, as REEVES ‘Detective Tom Ludlow brings on this wise. Not the sheer amount surprised him, but the place of hiding.
All Pictures: 20th Century Fox
Far from Liechtensteiner accounts or a US credit crisis, Whitaker’s character is used here the good old house bank. The mattress of the Grobmutter, which does not familiarize the financial institution, is a wooden wall surplus in a luxurious estate – the mistrust but has remained. "COPS runs around Cops," that’s very normal, so chassle his activities. The money is not only of his, it was that of unity, used to her benefit. Lukas Foerster speaks of a "population-acting secret society", and meets the nail on the head. The – global so that the place of Los Angeles – wandering is the purpose and justification for the crime that commits the unit. The price: a few human life, including policemen, but of course those who were so deeply undercover, that they did not even know what side they are actually hedging ". Help of Aufen is neither necessary nor abnormal.
It is probably typical of the creators of "Street Kings" to tell about a war between policemen. Director David Ayer has already staged "Harsh Times", and he wrote the scripts for the thematically almost embarrassingly stored "Training Day" and "Dark Blue"; Even "The Fast and the Furious" turns a policeman who loses control over his loyalty. Also co-author James Ellroy is dedicated to his thrillers – he wrote the templates for "L.A. Confidential ", "The Black Dahlia" and "dark blue" – policemen, and how little they are as a trustworthy principal power.
In the endless repetition of the ever of the same topics of corruption and betrayal – from fraud on the system in its simultaneous utilization – certainly not the strong Ayers Policeithriller. Cheap bays of the variety "We are the police, we can do what we want!"Crown the cliche parade only. But it is great how radiant "Street Kings" describes the departure of the police company: the police station, in which Detective Ludlov’s desk is a tucked magnificent construction, at least from the inside. Noble Holzer on the Wanden, the flashing chrome of police robes, a shadowless illumination. Blank mockery, actually, because so real criminals without service knowledge we hardly learn in "Street Kings".
The weak of the movie, and of those there are many, revealed in comparison with other contemporary works similar topics. So Ayer tries desperately, his policemen and his hero with their methods and their language in a gray zone between the ghetto and gait on the one hand and the sunny glamor of California on the other side. Keanu Reeves uses the same Street slang as the gangster hunted by him, bathes cynically in its brutal methods and attacks, if no one looks back, of course, to the bottle. The motivation for his nihilism is diffuse: At some point his wife died, on a stroke, during her she lost with another man who – for fear of discovery – did not want to bring in but merely a hospital. A textbook story from loss and of the following bitterness, and thus one of these unapproachable characters that have any amount of reason to be no heroes, but therefore not a single one still to preserve a spark of idealism in the body.
Quite different the uneven stronger characters such as Vic Mackey from "The Shield", a police series located in Los Angeles. Again, every character is in the impenetrable gray between law and crime, but these figures can be oscillated, strong and weak in dealing with partial aspects of their environment. The "Strike Team" of this series is reflected in Captain Hiking special unit, and only hiking speech that all the money is not its personal enrichment but the well-being of the team is a clear indication that it is also in "Street Kings "Various GRauts could give.
Ayer is also subject to temptation to subordinate his film to a hectic and uberylized clip asthetics. Stormly accompanied by a pumping soundtrack, the wild camera swivel in a stilbar, the Ayer’s actual skills are rarely fair. Thus, the actually exciting choreographed firing change and action scenes of pomposes 360-degree swivel, squeezing against the rhythm of the film, under disregard of all rules to safeguard the overview of the events. "Street Kings" removes a good stucco from postulated naturalism of the L.A.-depiction. Cheap – and by no means original – pop-sight values replace the grimness and urban anti-asthetics of "The Shield". The film is aerous and humorless, but swims in a freely staging that appears rather in their unreflected asesthetizing rather than critical. Even the remarkably bloody sliding runs appear rather than calculated constitent to a diffuse suspected target group, because a deliberately used authentication tool.
Direct sequence This is also that the venue Los Angeles is increasingly crowded in the background. The lack of courage for contrast also intervenes: on the one hand the lightning-blink police station, which the plot is gradually entilled as a corrupt Moloch, on the other side … nothing special. Hauser of any "Gangbangern" here and there, Bieder-Burgerich furnished, boring. The light of the upper class only radiates a bit more than the light gray of the gangs and drug dealers. In the apartment of our nihilist hero, it is a little freezer, but there is nothing, which could not resolve half an hour’s work and a vacuum cleaner again. "Street Kings" told From a neglected, corrupt city, but shows a completely different.
Los Angeles loses any heterotopic character in David Ayers’s film, is drawn to only half-side and not finished dystopia without relation to the reality. The fact that it goes differently shows the abysmal New York of the excellent "WAZ" (Tom Shankland, USA 2007) – a uncompromising subassprint Vision that reflects the plot of the movie in each individual setting. "Street Kings", on the other hand, only reflects the prejudices of his authors, without ever what the said in the showed. As a script, everything – apart from the predictability and lack of originality of the plots – have even read quitelly. Provided with the blotted-expressionless game of a Keanu Reeves and the stylistic awkwardness of his director remains only a smooth bulleted film that fails on his omniprasent faulty.