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Die Filmstarts-Kritik zu The Outsider (2024)
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Die Filmstarts-Kritik zu The Outsider (2024) </h1> <div class="text-center my-2 sm:my-4 " > <ins class="adsbygoogle adsense h-ad3 " data-ad-client="ca-pub-7418365965779211" style="display:block" data-ad-format="auto" data-ad-slot="3914276034" data-full-width-responsive="true" data-adtest="off" > </ins> <script> (adsbygoogle = window.adsbygoogle || []).push({}); </script> </div> <article class="article-detail"> <section class="entry-content paragraph"><div data-seance-geoloc-redir="196469"> <div> <p><span>Home</span><span>Kino</span><span>Empfohlene Filme</span><span>Empfohlene Drama Filme</span><span>The Outsider</span><span>Kritik: The Outsider</span></p></div> <div><p><span>The Outsider</span></p></div> <nav> <div data-offset="20"><div><p><span title="Home"><p>Home</p></span><span title="Nachrichten"><p>Nachrichten</p></span><span title="Trailer"><p>Trailer</p></span><span title="Besetzung & Stab"><p>Besetzung & Stab</p></span><span title="User-Kritiken"><p>User-Kritiken</p></span><span href="ACrL2tACryaXRpa2VuLzE5NjQ2OS9rcml0aWsuaHRtbA==" title="FILMSTARTS-Kritik"><p>FILMSTARTS-Kritik</p></span><span title="Streaming"><p>Streaming</p></span><span title="Bilder"><p>Bilder</p></span><span title="Trivia"><p>Trivia<div class="sm:flex sm:items-center sm:justify-center sm:flex-row sm:space-x-1 insert" style="margin-top:0; margin-bottom:0;"><ins class="adsbygoogle sm:w-1/2" style="display:block; text-align:center;" data-ad-layout="in-article" data-ad-format="fluid" data-full-width-responsive="true" data-ad-slot="3914276034" data-ad-client="ca-pub-7418365965779211" data-adtest="off"></ins><script>(adsbygoogle = window.adsbygoogle || []).push({});</script><ins class="adsbygoogle sm:w-1/2" style="display:block; text-align:center;" data-ad-layout="in-article" data-ad-format="fluid" data-full-width-responsive="true" data-ad-slot="3914276034" data-ad-client="ca-pub-7418365965779211" data-adtest="off"></ins><script>(adsbygoogle = window.adsbygoogle || []).push({});</script></div></p></span><span title="Ähnliche Filme"><p>Ähnliche Filme</p></span></p><div class="sm:flex sm:items-center sm:justify-center sm:flex-row sm:space-x-1 insert" style="margin-top:0; margin-bottom:0;"><ins class="adsbygoogle sm:w-1/2" style="display:block; text-align:center;" data-ad-layout="in-article" data-ad-format="fluid" data-full-width-responsive="true" data-ad-slot="3914276034" data-ad-client="ca-pub-7418365965779211" data-adtest="off"></ins><script>(adsbygoogle = window.adsbygoogle || []).push({});</script><ins class="adsbygoogle sm:w-1/2" style="display:block; text-align:center;" data-ad-layout="in-article" data-ad-format="fluid" data-full-width-responsive="true" data-ad-slot="3914276034" data-ad-client="ca-pub-7418365965779211" data-adtest="off"></ins><script>(adsbygoogle = window.adsbygoogle || []).push({});</script></div></div></div> </nav> <section> <div> <section> <div><p>Kritik der FILMSTARTS-Redaktion </p></div> <div> <div> <div> <p><span>1,5</span></p><div></div> <p><span> enttäuschend </span> <div class="sm:flex sm:items-center sm:justify-center sm:flex-row sm:space-x-1 insert" style="margin-top:0; margin-bottom:0;"><ins class="adsbygoogle sm:w-1/2" style="display:block; text-align:center;" data-ad-layout="in-article" data-ad-format="fluid" data-full-width-responsive="true" data-ad-slot="3914276034" data-ad-client="ca-pub-7418365965779211" data-adtest="off"></ins><script>(adsbygoogle = window.adsbygoogle || []).push({});</script><ins class="adsbygoogle sm:w-1/2" style="display:block; text-align:center;" data-ad-layout="in-article" data-ad-format="fluid" data-full-width-responsive="true" data-ad-slot="3914276034" data-ad-client="ca-pub-7418365965779211" data-adtest="off"></ins><script>(adsbygoogle = window.adsbygoogle || []).push({});</script></div></p></div> </div> <div> <p> The Outsider </p><p> Von Asokan Nirmalarajah </p></div></div> <div> <p>Wenn Netflix nach eigenproduzierten Serien nun auch immer häufiger aufwendige Spielfilme wie jüngst David Ayers Sci-Fi-Blockbuster „<span>Bright</span>“ mit Will Smith oder Duncan Jones‘ dystopischen Mystery-Thriller „<span>Mute</span>“ selbst finanziert, dann wird der Streaming-Gigant regelmäßig von Filmemachern für die enorme kreative Freiheit gelobt, die Netflix ihnen gewähre. Zugleich fällt aber auf, dass diese von Anfang an von Netflix produzierten Projekte oft eher enttäuschen und nicht an andere Netflix-Veröffentlichungen wie das oscarnominierte Rassendrama „<span>Mudbound</span>“ oder das Sci-Fi-Meisterwerk „Auslöschung“ (<span>5 Sterne von FILMSTARTS</span>) heranreichen, an denen der Streaming-Anbieter die Rechte erst nach ihrer Fertigstellung erworben hat. Die jüngste Produktion, an der Netflix zwar nicht von Anfang an beteiligt war, sich aber zumindest noch während der Dreharbeiten eingekauft hat, ist nun Martin Zandvliets langatmig erzähltes, klischeebeladenes Yakuza-Gangsterdrama „<b>The Outsider</b>“. Was sich hier als düster-atmosphärisches Sittengemälde über den Aufstieg eines Amerikaners in den Reihen der Yakuza Mitte der 1950er Jahre gebiert, entpuppt sich schnell als ein zwar in gelackter Optik produzierter, aber letztendlich lebloser Rohrkrepierer. </p><p> Die Geschichte um den mysteriösen Amerikaner Nick Lowell (Jared Leto) beginnt in einem japanischen Gefängnis im Jahre 1954. An diesem gottlosen Ort, wo das triste Grau der Gefangenenuniformen nahtlos in das Grau der Knastwände übergeht, sitzt Nick für ein unbekanntes Vergehen seit einer unbekannten Zeit ein. Als er eines Tages einem Fremden bei einem Mordanschlag in der Gefängnisdusche das Leben rettet, entsteht zu dem geretteten Yakuza Kyoshi (Tadanobu Asano) eine tiefe Freundschaft, die darin mündet, dass Nick seinem neuen Kumpel bei dessen Ausbruch hilft. Als Dank wird der Amerikaner von Kyoshis Gangsterfamilie aus dem Gefängnis geholt und als englischsprachiger Schläger engagiert. Schnell legt der Fremde eine Brutalität und Skrupellosigkeit an den Tag, dank der er inmitten eines gerade tobenden Bandenkrieges rapide in den Yakuza-Rängen aufsteigt. Als Nick eine Beziehung zu Kyoshis Schwester (Shioli Kutsuna) eingeht, wird es allerdings kompliziert… </p><div> <figure data-model='{"videos":[{"id":19565351,"idDailymotion":"x88s168","sources":{"high":"https:\/\/de.vid.web.acsta.net\/nmedia\/49\/18\/02\/22\/15\/19565351_hd_013.mp4","low":"https:\/\/de.vid.web.acsta.net\/nmedia\/49\/18\/02\/22\/15\/19565351_l_013.mp4","medium":"https:\/\/de.vid.web.acsta.net\/nmedia\/49\/18\/02\/22\/15\/19565351_m_013.mp4","standard":"https:\/\/de.vid.web.acsta.net\/nmedia\/49\/18\/02\/22\/15\/19565351_sd_013.mp4"},"image":"\/videothumbnails\/18\/02\/22\/16\/01\/1268607.jpg","title":"The Outsider Trailer OmU","trackingIdentifier":"19565351-the_outsider_trailer_omu","embedUrl":"ACraHRACr0cHM6Ly9wbGF5ZXIuZmlsbXN0YXJ0cy5kZS8xOTU2NTM1MS5odG1s","file_type":"TRAILER","description":"The Outsider Trailer OmU","duration":108,"view_count":6108,"added_at":{"date":"2018-02-22 15:48:00.000000","timezone_type":3,"timezone":"Europe\/Berlin"},"metas":{"id_main_show":null,"name_main_show":null,"image_main_show":null,"id_main_movie":196469,"name_main_movie":"The Outsider","image_main_movie":"\/pictures\/18\/02\/22\/17\/46\/2495192.jpg","main_movie_videos":null,"id_main_series":null,"name_main_series":null,"image_main_series":null,"id_main_season":null,"name_main_season":null,"image_main_season":null,"main_season_number":null,"id_main_person":null,"name_main_person":null,"image_main_person":null,"use_portal":null,"release_date_main_movie":null,"nb_days_release_main_movie":null,"id_meta_category":null,"name_meta_category":null,"localized_file_type":null,"trans_file_type":null,"main_movie_type":null,"main_season_rating":null,"main_series_rating":null,"main_season_user_note_count":null,"genre_main_movie":null,"genre_main_series":null,"release_status_movie":null,"release_status_series":null},"is_emergence_inhibited":false,"relatedEntityType":"movie","relatedEntityId":196469,"relatedEntityTitle":"The Outsider","relatedEntityUrl":"ACraHRACr0cHM6Ly93d3cuZmlsbXN0YXJ0cy5kZS9rcml0aWtlbi8xOTY0NjkuaHRtbA==","mediaUrl":"ACraHRACr0cHM6Ly93d3cuZmlsbXN0YXJ0cy5kZS9rcml0aWtlbi8xOTY0NjkvdHJhaWxlci8xOTU2NTM1MS5odG1s","relatedEntityTrackingIdentifier":"196469-the_outsider","genres":["DRAMA","THRILLER"],"countries":[{"id":5002}],"genresIds":[13008,13023],"relatedEntityDistributor":null,"relatedEntityDistributorId":null,"entityStatus":null}],"disablePreroll":false,"disablePostroll":false,"endScreen":true,"context":"newspage_news","disableAutoPause":true,"player_position":"playercontent"}' data-player-dm-id="xt5ho"> <div> <p><img alt="Die Filmstarts-Kritik zu The Outsider (1)" data-src="https://i0.wp.com/de.web.img3.acsta.net/r_640_360/videothumbnails/18/02/22/16/01/1268607.jpg" src="data:image/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==" class="lazyload" referrerpolicy="no-referrer" title="Die Filmstarts-Kritik zu The Outsider (1)" data-src2="https://de.web.img3.acsta.net/r_640_360/videothumbnails/18/02/22/16/01/1268607.jpg" onerror="if(this.src==this.getAttribute('data-src2')){onImageError(this,true)}else{this.src=this.getAttribute('data-src2')}"> <span> <span></span></span></p><div> <div class="sm:flex sm:items-center sm:justify-center sm:flex-row sm:space-x-1 insert" style="margin-top:0; margin-bottom:0;"><ins class="adsbygoogle sm:w-1/2" style="display:block; text-align:center;" data-ad-layout="in-article" data-ad-format="fluid" data-full-width-responsive="true" data-ad-slot="3914276034" data-ad-client="ca-pub-7418365965779211" data-adtest="off"></ins><script>(adsbygoogle = window.adsbygoogle || []).push({});</script><ins class="adsbygoogle sm:w-1/2" style="display:block; text-align:center;" data-ad-layout="in-article" data-ad-format="fluid" data-full-width-responsive="true" data-ad-slot="3914276034" data-ad-client="ca-pub-7418365965779211" data-adtest="off"></ins><script>(adsbygoogle = window.adsbygoogle || []).push({});</script></div></div> </div> </figure> <div> </div> </div><p> Von Beginn stellt sich der Zuschauer bei „The Outsider“ die Frage, wer dieser Nick Lowell eigentlich ist? Allerdings gestaltet sich die Suche nach einer Antwort auf diese Frage weder spannend noch mysteriös, sondern einfach nur frustrierend. Den gesamten Film hindurch erfährt man so wenig über den schweigsamen, distanzierten Mann, dass er als Protagonist konsequent unnahbar und unsympathisch bleibt. Welches Ziel verfolgt Nick? Was ist ihm zur Zeit des Zweiten Weltkriegs passiert, dass er nun ohne mit der Wimper zu zucken Menschen mit Schreibmaschinen zu Brei schlägt? Empfindet er tatsächlich Treue gegenüber Kyoshi, liebt er dessen Schwester wirklich? Will er um jeden Preis aufsteigen in der Hierarchie oder reicht es ihm, ein verlässlicher Handlanger zu bleiben? Man wird einfach nicht schlau aus ihm, so dass er neben den sehr ausdrucksstarken japanischen Männern um ihn herum zunehmend verblasst. </p><p> Zu allem Übel spielt der sonst so experimentierfreudige wie extrovertierte Jared Leto („<span>Suicide Squad</span>“, „<span>Blade Runner 2049</span>“) seine Figur mit stoischer Miene und nichtssagenden Blicken. Er scheint sich dabei an der zutiefst melancholischer Darstellung von Yakuza-Gangstern aus den Krimi-Dramen von Takeshi Kitano („<span>Sonatine</span>“, „<span>Hana-bi</span>“) zu orientieren. Aber statt wie ein innerlich vor Wut und Selbstkontrolle fast zerreißender Antiheld wirkt er viel mehr wie ein emotionsloser, blasser Vampir, der in anonymen Gruppen von Anzugträgern durch die Nacht streift, um sich mit anderen Gruppen aus Anzugträgern über ihre ominösen Geschäfte zu unterhalten. Eine fesselnde Geschichte fehlt dabei völlig. </p><p> Das langatmige, ermüdende Erzähltempo, das der dänische Regisseur Martin Zandvliet („<span>The Model</span>“) hier an den Tag legt, um dem stereotypen, überraschungsarmen Drehbuch von Andrew Baldwin („<span>Bastille Day</span>“) mehr Gewicht zu verleihen (etwa durch zahlreiche Einstellungen, in denen Nick bedeutungsschwanger in den Spiegel oder in die Leere blickt), streckt die dünne, ereignisarme Handlung auf epische zwei Stunden. Dabei passiert nicht viel mehr, als dass eine Bande die andere Bande bedroht oder dezimiert (und dann wieder umgekehrt). Nicht auszudenken, wie originell und abenteuerlich selbst diese reduzierte Genre-Konvention in der Hand des ursprünglich als Regisseur vorgesehenen Japan-Enfant-terribles Takashi Miike („<span>Audition</span>“, „<span>Blade Of The Immortal</span>“) hätte ausfallen können. Aber so bleibt der ganze Film so farblos wie Miikes eigentlich grandioser „<span>Ichi The Killer</span>“-Hauptdarsteller Tadanobu Asano, der hier in einer blassen Nebenrolle zum bloßen Stichwortgeber degradiert wird. </p><p><b> Fazit: Netflix ist mit seinen geheimen Nutzer-Algorithmen auf dem besten Weg, ein perfekt auf die Bedürfnisse und die Nachfrage des Publikums abgestimmtes Produktionshaus für den internationalen Markt zu werden. Aber die scheinbar noch nicht vorhandene Qualitätskontrolle erweist sich dabei zunehmend als Problem, wenn nun ein Großteil der vielen angekündigten Eigenproduktionen nach und nach auf dem entmutigenden Niveau von„Bright“, „Mute“ und nun eben auch Martin Zandvliets erschreckend langweiligem Gangsterepos „The Outsider“ einzutrudeln scheint. </b></p> </div></section><section> <div><p>Möchtest Du weitere Kritiken ansehen?</p></div> <ul> <li><span>Die neuesten FILMSTARTS-Kritiken</span></li> <li><span>Die besten Filme</span></li> </ul></section><section> <div><p>Das könnte dich auch interessieren</p></div> </section> <p><img src="data:image/gif;base64,R0lGODlhAQABAAAAACH5BAEKAAEALAAAAAABAAEAAAICTAEAOw==" class="lazyload" referrerpolicy="no-referrer" alt="Die Filmstarts-Kritik zu The Outsider (2)" title="Die Filmstarts-Kritik zu The Outsider (2)" data-src="https://i0.wp.com/vg05.met.vgwort.de/na/a5ee68a55d1343a8b5171f828461faf2" data-src2="http://vg05.met.vgwort.de/na/a5ee68a55d1343a8b5171f828461faf2" onerror="if(this.src==this.getAttribute('data-src2')){onImageError(this,true)}else{this.src=this.getAttribute('data-src2')}"><div class="sm:flex sm:items-center sm:justify-center sm:flex-row sm:space-x-1 insert" style="margin-top:0; 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