When I first saw it on Sat1 in 1998 it was okay, now on Amazon in 2021 it is pretty average..
Here is why it is bad and this review is mainly based on the first episode. Should I be able to get through more, I will change this review to a general one and post this as a review attached to the first episode. Also, before we start, rumour had it back then that Dieter Wedel fired the original director because his scenes were unusable and stepped in to direct the show himself. I don't know if this is true or when Wedel took over, but if this show was shot in sequence and the first episode or parts of it is the work of the original director then may be that's the explanation why this is so bad. Also scenes tend to get better at the end of the episode and the staging is more natural , the line delivery not as overacted.
Firstly the staging of the scenes and the framing of the shots look just awful. Maybe the reason for the latter is the change from 4:3 to 16:9 on Amazon, but it is just no fun watching it. The staging is also so uninspired and not logical. They try to kill Kranzow by throwing him into the harbour. And the reason he is almost killed is not the way he smashes into the water, or that he cannot swim or the current; It is because he swallows too much of the dirty water and he cannot really swim somehow but survives at least 5 minutes until they send a rescue ship. And the killers know he might not die and survive but they also assume he will not talk when they hear that he might live? Yet they make a second halfass attempt on his live. Okay much of what I just wrote was maybe also a writing problem and the reason they are only halfass attempts is because he has to come back half way through the show when his son has taken over so there can be conflict and a reconnection with his son. But the assassination attempts look ridiculous. First the attempt in the harbour then the second one in the hospital. The killer behaves so suspiciously and the reason nobody saw him, was because there is only one nurse for 80 patients. Okay the explanation is also writing. The following scene with his son explaining to the nurse who his fathers is in the underworld reminded me of the Godfather. The problem again is the writing because the son talks so stilted and not how real people would talk. Also almost every scene before that told us how big his father is in the Hamburg underworld or party mile and how prestigious his his club is, yet when we see the club it looks like a small beephole, the guests in it look bored and the dancers are not very professional.
Most of the actors are well known German actors but they somehow cannot deliver. Even Heinz Hoenig who got a great career boost from this show is pretty bad in this first episode especially in his first scenes where he overacts completely. Sonja Kirchberger is hot, but not that good, Oliver Hasenfratz is not even present in the scenes he is in. And it is also so plain obvious that we are on a backlot. The entire scenery looks cheap. Okay now we jumped from writing to acting to production values and design in two sentences but it is very difficult to write a structured review when the entire episode is all over the place.
First of all, I will review both titles here, not because they belong together but because - and this is the big BUT - part two offered nothing new and was a bit of a let down. We also cannot speak of part one and two here but of companion pieces, because both parts tell the same story from a different point of view. Also both parts were shown at the same time on different stations and the respective other part after that. Yet for some reason I think "Gegen die Zeit" would work on its own and the other part "Das Geständnis" (The Confession) would not. Maybe I only think that because I watched "Gegen die Zeit" first.
Before we start here is my table of content:
1. Bjarne Mädel I did not like before this and now I know why. I did not like the characters he played in Stromberg (German version of The Office) and Der Tatortreiniger (Crime Scene Cleaner). In Stromberg he played a shy stuttering jerk and in Der Tatortreiniger I do not know what the character was. Because of that, I did not like the actor. And I do not mean to say it was bad acting. Here the character he plays is good and Mädel is good. Very good? No. Why not. The courtroom scenes. As a cop, Mädel's character is pretty tough but in the courtroom scenes he is not. I understand of course that people are intimidated when on the stand but here Mädel playes the character so differently from the rest of the movie. And he plays him shy and a little stuttering just like his other characters in Stromberg and Tatortreiniger. That difference was too much. The other crinchworthy scene that substracted from the overall strong performance was after the waterboarding scene when he cried. My wife and I laughed. That should not have been.
It was good to see Brandauer again and he delivered. He is very good as always and his character is interesting. Because of him the film is better.
2. The writing was not bad. But two things were not good and did not make sense structurally:
First, during the courtroom scene the topic of torture is brought up long before it is actually revealed to the court that it was torture that made the subject confess. Of course it was the elephant in the room, for us, the audience, but why talk about torture for so long without it being the issure. Structurewise this should have been reedone.
Secondly the only reason why they were dancing around the topic of torture for so long in the court scene especially in the second part was the fact that the kidnapper did not tell his lawyer that it was torture that had made him confess. Yes, the cop threatened him not to reveal that. But come on, the kidnapper was shown to be extremely intelligent and resourceful. Don't tell me he did not know that torture was forbidden and that telling his laywer would only help him win his case.
The bad thing here is that not telling his lawyer about the torture and the lawyer having to find out
about it does not make sense for the above mentioned reason and the scenes that show the lawyer investigate why his client had confessed without a real reason is almost the only new stuff we get in part two or should we say the companion piece. But since we already know there is no point watching it.
3. The plot is also not bad but has its faults: A girl gets kidnapped. A cop has a hunch that a certain suspect might be the kidnapper and because there is no real evidence, only a hunch, the cop decides to torture the suspect into revealing the location of the kidnapped girl. He succeeds but the girl is already dead because of reasons. During the trial the torture is revealed and the kidnapper is released.
My problem here is that the "second" part "Das Geständnis" is only there because the kidnapper was afraid to reveal the torture and the lawyer had to ask why his client had confessed. That was very contrieved. Other than that the lawyer is fleshed out more which was good because it gave Brandauer screentime. The rest of the story is the same as part one. Maybe they should recut everything as one part and then it would be better.
In conclusion, the advertising of those two parts was always about "Watch both sides of the story" only then can you judge. I did not get that, because why would I root for the kidnapoer. Then again, maybe I just do not get it. But it was alright.
This is supposed to be a generation ship, so where are the children? Nobody seems to wonder since nobody had an explanation anyway. And so Discovery's plan to pose as a generation ship is another half baked idea by the writers. Now somehow we get the impression the writers can do no better.
The 12 year old message, and the sender that vanished. And the young girl's idea to be part of Discovery to find the sender. Nothing seems interesting and motivations are far fetched. Everybody always giving a speech. The umpteenth You-Are-The-Best-Crew-Speech. Why not do it with gestures. Saru points at the Captain's chair, Burnham turns it to Saru, he sits down hesitently, gives the first shy order and then we get the "Aye-Captain"Chorus. That would have been far more resonant.
Now to the main conflict, earth gov and the Titan-raiders. It was nice to see that everything was resolved with words instead of weapons. But is was a bit simple. Never the less, right track. Earth is still a paradies, also a bit lame, but positiv. Also right track.
All in all, less words, better writing and we might finally get true Trek.
One star for Data's final scene, allthough it did not make any sense.
Nothing made sense. How was Picard sacrificing anything? He had space Alzheimer's, you don't die from Alzheimer's just so, first you get senile. He died like from a stroke or brain tumor. But a space battle where you do not get hit won't make your tumor grow faster. But Picard died from some kind of brain condition, not from phaser fire so basically he did not die from or for anything. He risked his life, yes, but he only happened to die shortly after a battle in which he was not injured unless you argue the stress of the battle furthered his condition. And in the end he is brought back to life, no, not by Khan's blood, but by memory transfer and an android body. But not really an android body, no mega strengh, no super hard drive, and only ten or so additional years of life for good measure. My point being, why introduce the brain condition if it had absolutely no consequences for the plot. Another captain in the J.J. Verse had a sickness-sublot that went nowhere; Kirk in Into Darkness. Bones examined him multible times in the movie, saying his life signs were off. That sublot went nowhere. I bet his condition was removed with Khan's blood and the rest of the dialogue referring to it was deleted. In both instances the subplot was just introduced to inject a little mystery or drama or excitment in early scenes without consequences later. Picard could have easily died from a phaser hit in the ship, would have made no difference. The would be sacrifice would not have had a different impact on the plot, namely none. Soji stopped the skybeam before Picard died, because of the speech not because of the sacrifice.
Also, the android body was built before anybody knew of Picard's condition. So who was it built for?
Rafi and Seven are together now. When did that happen? I mean Seven and Chakotay were also together out of the blue but they had 4 years to get to know each other. Rafi and Seven had like 4 Minutes?
So Alton Soong really is Alton Soong, not Lore, just another long lost relative. How disappointing. Completely useless character. He did do nothing Maddox could have done, had they not recast and killed him for also no reason. Where was he all the time? And if he is not Lore, where is Lore, why was he never mentioned on the show? Lazy writers perhaps? "If we mention him, we must explain where he is, why he was not used by Maddox. That is at least two lines of exposition. We could give that screen time to Picard when he is a Pirate with a French accent. Steward will love it."
Two big Armadas warp in, Picard says something and all 500 ships warp out again. Nobody stays behind to keep the peace, for negotiations, to say hi to Picard, to investigate new life? I guess it would have cost screentime to show that or thinking time on part of the writers to come up with plausible courses of action of all parties and characters involved.
And why do all ships look the same? Lame!
Jurati needs the eye of a dead android to get by a retina scanner to break Picard out, so she lures away Soong with a ruse, the oldest trick in the book. And Soong falls for it. Okay, maybe he is stupid, he is only a cyberneticist. Then she breaks out Picard of his room and in the next scene, they are on their ship. How did they leave the android village? Are all the inhabitsnts stupid? And the walk to the ship was long, how did they make it in such a short period of time? It feels like a minute.
Narek enters the cube, goes away, nobody stops him. Are all the exbs and Seven stupid? I mean Legolas is on his heels, like a second behind him but arrives an hour after Narek on La Sirena's crash site. Missing scenes? Or did nobody care?
On la Sirena Narek is trusted by everybody, no not by arguments he has to convince them, just because. And they hatch a plan: destroying the dish that creates the 100th skybeam in scifi history. At least Star Trek had the first one in a far far better movie namely Star Trek V. In order to get into the android village, they want to present Narek as a prisoner to the androids because he presumably had killed an Android by stabbing its eye. The "plan" works, they let Rios, Rafi and the rest back into the village. I don't know why a plan was necessary because you can get out without anybody giving a s#i+. Why would it be a problem to get in? Of course it isn't. Rios is even able to smuggle in a grenade in a soccer ball. But the the village is a spa anyway, nobody would mind a soccer ball, right. And then all hell breaks loose. Humans and Romulans kick Androids with mega strengh and win. And what do the rest of the 100 Androids do while their village is under attack. We do not know, because we are not shown. Sutra is disabled by Soong who had a quick change of heart, and he disables her behind a bush, two meters away from the rest of the androids. No reaction shots by the nearby synths. And they must have seen or heard that, they have augmented hearing and sight, right. Every human could have seen it. But we get nothing. I guess director Goldsman was not in directing mood that day and said: "Ah, let's only have a few close ups of kicks and punches, so I don't have to imagine what the rest of the villagers do during the attack."
By the way, imagination or the lack of it; They have a device now that does what the owner imagines, reparing a ship, creating hundreds of holograms outside a ship in space, etc.???? They pulled that trick in Voyager's Basics Part 1 but they had to install holo emitters first. Here nobody cared and by nobody I mean writers. I mean we had our share of wunder devices in the last decade in scifi cinema and tv for example the little healing balls in Black Panther or the metall in that movie that does what it needs to do. But a device that does what you imagine? Far out. But that is of course the laziness of the writers. Or was somebody too cheap to hire a technical consultant who translates "tech the tech" into technobabble that makes sense. Imagine a cop show without a technical consultant. Cop 1: "We need to arrest that guy, but we don't have a warrant" Cop 2: " So what, use the universal warrant in my clove box, you can even search the White House with it and arrest the President."
This review is not structured and at first it was only the first line about Data, but I just cannot stop writing. Wow, Data wants to die. They had him in a computer for the last ten years or so, they built 100 androids but not a body for him? Why, because de-aging is to expensive. Then why not put him in a female body, that would help his exploration of humanity and woke culture.
Maybe if I can think of more I write more. Come to think of it, this show is even stupider than discovery and that says a lot.
I thought of more: Picard , a few episodes ago, could not fly la Sirena, now he can, very well in fact, and before he does, says, "I hope I observed Rios well." Why, this is so stupid. As if somebody could learn how to fly a fighter jet by observing somebody for 10 days. And if he can do so, because he was a Captain and a pilot then that is the reason, he can do it, not because he observed Rios. There was a scene between him and Rios at the helm last episode or so. Why not use such a scene to teach Picard. Or end the scene with the line : " Now show me how this thing works."
Also, why do we need a magic device that repairs the ship. Why not just have Rios repair the ship because he can do it because it is his ship. Then we would not need a conversation between him and Rafi about "imagination". Then it could just be a character scene while they talk.
Is there good stuff? As mentioned above, Data's second death is one of it. It felt a little like 2001. When Lore was deactivated in Decent Part 2 Lore's voice became deeper and deeper just like HAL's in 2001. Here Data's simulation was all chrome like the ending of 2001, where the astronaut lived out the rest of his life. Nice scene between Stewart and Spiner. But it all gets blemished by the contradictory setup. As mentioned before, why did nobody tell Picard, Data was alive. Why no new body for him. Yes, he wanted to die, but for ten years. Why not shut off Data ten years ago if that was his most fervent wish? Let's not speak of the fact that his memory was recreated by a single neuron. Really, why would I need a hard drive if everything fits on one bite.
What else was good. The beginning of the battle, Picard's line: "...lead by example..." Unfortunately the rest, the pay off was not well executed. If you kill him off, do it for good. Yes, Spock was brought back, but his resurrection took 2 and a half movies. His body was brought back in Star Trek 3 and his mind in Star Trek 4 and 5. Only at the end of the last movie Spock was his old self again. Here, Picard is out and about in 5 minutes. That is not earned.
Somehow I have overlooked this episode for the last 20 years. This was great and it sets up the last ten episodes. We have Damar's hate for the Dominion in its infancy, Dukat having surgery to become Bajoran, the Founders becoming more ill, we are reminded of Sisko's destiny as the Emissary and of course the Worf and Dax relationship gets sorted out with a nice callback to Jazia.
I really hope now that What We Left Behind comes out, more people watch this show and it gets remastered and maybe an 8th season gets produced.
Meister Eder's eletric saw is short circuiting but he must finish a cabinet. Since he is in a bad mood anyway everything that goes wrong is blamed on Pumuckl despitechim being innocent. The highlight is the scene where Hans Brenner as the electrician thinks Meistet Eder is screaming at him and leaves. So funny.
Yes, the show may be more like Star Trek now, but it is still too stupid and unearned to be really good.
First of all, the mystery of the sphere, which was set up to fast and not fleshed out enough, in my opinion, but okay, it is a mystery. The fun part is solving right.? Right? No, because it is not solved. Saru just says, I know what it wants, but how he did it is never explained. I can set up any problem if a satisfactory solution is not required. Imagine Holmes identifying the murderer by just saying the name, and no further explanation is given. All the hints that were layed out before were irrelevant or did not mean anything for the solution. That would be lame for the viewer and only half of the work done by the writer. Sure there were the light flashed, I dont know. Imagine again a teacher giving you the solution to an equation but not explaning the steps that led to it.
The unearned part: May be I dont remember it from the first season, but since when do Saru and Michael share a bond that deep. I did not whats the recap maybe it was shown there. But if the relationship was any good one remembers. Saru knows half the crew longer than Michael and he chooses her to help him for his suicide. Sure the scenes were a little touching, but not touching enough. I did not get their strong bond. Maybe its just me
All in all, kind of a filler. The red sphere looks like one of the red bursts but nobody ever mentioned a possible connection. And may be there is none, but then make it blue or green.
How can this be better than Discovery and the movies combined?
There will be no spoilers just an assessment; This is better than the commercial shows. Of course Discovery and the Kelvin-Films have superior production values, but since when were perfect effects and sets important? Ever since the Star Wars Prequels we know that plot matters and not effects.
That is not supposed to mean the acting, the effects and the sets are bad, they are pretty outstanding, so good that you forget after a couple of minutes that you are "just" watching a fan-film.
Star Trek Continues has something far more important than a grand budget, this has actual characters, an actual story and above all, makes us invest emotionally and pays off big time in the end. You watch this, you will care for our triumvirate in the end even more, you will understand their future actions and decisions. And isn't that what a story is all about; we the audience care for the characters in it.
It is sad that fan films are no more, at least not in the current format. This show has been a treat from the beginning and this episode is clearly the peak of fan films. I doubt it will be surpassed any time soon.
It is like they searched for the worst actors all over Germany and put them together into this episode of Tatort. On top of that the direction was bad too and the writing was ridiculous. It is hard to write an objective review when every aspect of this production was incompetently executed.
First of all a new inspector comes to Franconia, to Nuremberg, and the only bit of local color is a shot of Nuremberg's main station and phony Franconican accents. Hell, this new inspector is our, the audiences, eyes and ears; we should discover his new work place, his knew home, this "strange" place called Franconia through his eyes. But alas, this episode of Tatort could have been set anywhere in Germany. We get endless point of view shots from a car driving through the nightly Nuremberg. Why? We saw nothing anyway. Could have been filmed in Munich for all we know.
One review said that much of the runtime of this episode was dedicated to introducing the new characters and the new setting. Firstly, there were no characters, they were cartboard cutouts, soulless, badly written stereotypes: one inspector who cannot fire a gun, not even when she has to shoot during target practice; the comic relief boss who screams all the time; the new guy who, well is new. If those are the characters we have to live with for the next couple of years then the Francoian Tatort is doomed to failure. Secondly, there was not much time spent on introducing the "characters". We know practically nothing about the two principals, or three, if we count in the screaming boss. If one comes to a new city one has to move in, make new friends, go out eating because you haven't had time to shop. But no, nothing. The main character gets out of the train as if he wants to stay for three days, yet he is intent on staying for years.
The writing as mentioned above was ridiculous. Laughable dialogue, badly written action and scenes. The murder plot itself was okay I guess, or would have been, if the character introduction story had been strong. But it was not.
The direction: No, no, no! Maybe the director should have told his ham actors that they were not standing on a stage but that a camera was pointed straight at their faces. No need overact in every scene, worst of all the interrogation scenes and the scenes with the chief inspector. This actor obviously thought he was in a comedy.
The editing; it was unconventional the say the least. Was it bad? It was not good that I can say. There were flashbacks so clumsily intercut with the rest that every time I saw it a badly cut internet porn came to mind. And then there was the endless driving scenes at night, no dialogue, nothing to see. Why?
All in all, I am not a fan of reboots, but maybe they should reboot the Franconian Tatort, start over, discount this entry, throw it out of the canon, forget it.
...the actor portraying Meister Eder (Hans Clarin) and the voice actor lending his voice to Pumuckl (Kai Taschner) do not go together very well. To make one thing clear, this is not the fault of Hans Clarin, his acting is solid, subtle and understated and it was there before any part of the Pumuckl-animation was done and before they dubbed in the gnomes voice. Therefore, the problem is the animation of Pumuckl and his voice actor. Another, although minor problem is the cinematography.
Firstly, the animation; ever since the last movie "Pumuckl und der blaue Klabauter" Pumuckl's animation lost its edge, which was that the gnome looked a little impish and mischievous without looking mean or evil, a little rascal so to speak. Starting with the last film, Pumuckl's appearance changed from this look to a friendly looking baby face without any hint in his facial expressions that there is a thinking brain and a mind behind his eyes that can on occasion be angry, mean and devious. Looking at Pumuckl in this film, you would assume he is just a monotone, dull and boring being without any wheels turning inside him. Though not only the appearance is not working, also Pumuckl's positioning within the frame is wrong most of the time. You never really get the feeling that someone is touching him, interacting with him properly or looking at him. That might be the reason that most of the scenes between Pumuckl and Meister Eder are played out in two different shots (action and reaction) rather than using two shots. The eye lines in the two shots almost never match. That is of course mainly the fault of the animation department, and partly that of the actor. In the 1980 TV show the interaction of Pumuckl and Meister Eder (Gustl Bayerhammer) is so convincing, they should have given tapes of the show to George Lucas to show his actors and animators how to act convincingly against thin air. Not only the eye line has to match correctly but also the focal point of the eye has to be right. This manifests itself in how wide an eye is open or closed. If we look into the distance, our eyes are open wide, if we focus on something right in front of our eyes, the eyes are much more closed, the pupils are a little closer together. The difference is only subtle but it makes all the difference in the world. The cinematography is very dark. If we are in rooms we can barely see the surroundings, just the faces of actors. Everything lies in shadows. This gives the movie a rather eerie quality something which could not have been intentional for a kid's movie. Maybe it was to hide something?
Secondly, the voice actor; Hans Clarin had voiced Pumuckl beginning with the audio dramas in the early sixties, the television show from 1982 to 88 up to the last movie in 1993 and the subsequent TV show. Because of problems with his vocal cords, he did not do the voice of Pumuckl in this movie and was hired to play Meister Eder. (Gustl Bayerhammer, the last Meister Eder, had died 1993 even before the last film was finished and so had to be dubbed over himself.) There is a rumor however that there is a version of the trailer for this movie featuring Clarin as the voice of Pumuckl and I would love to see it and, most of all, to hear it. By 1982 Clarin had nailed the voice. If you listen to the audio dramas the pitch of his voice is a little deeper. Hearing it, you would guess Pumuckl is about half a meter to a meter in size. When doing the TV show and Pumuckl's size was about 30 cm (one foot) Clarin lowered his pitch. Now in this film, the problem is not so much the voice of actor Kai Taschner, which if done right, would have worked as well. It is more his acting abilities, maybe the sound mixing. He always screams his lines; there is no subtlety to it. No lowering his tone in emotional scenes, it has always the same volume. This, combined with Clarin's subtle acting as Meister Eder simply does not match. You never get the feeling of true interaction, rather that of two performances done separately. Maybe it was the sound department's fault as well. You never really think that the two voices were recorded in the same environment, Pumuckl's is always louder. Then again, in the end, the director should have realized the problems and dealt with it.
To sum everything up, the actors are great; Ernie Singerl, Hans Clarin, Christine Neubauer and the boy actor, they all deliver. The story might be a problem, last Pumuckl outings always had a bad guy. The TV show never had a bad guy; it was always Pumuckl discovering the world. The biggest problem, and my comment covered that in great detail, is that of Pumuckl and his interactions with the world. This is the integral part of the movie. Imagine, if the interaction of Luke Skywalker and Yoda had not been convincing or that of Gollum and Frodo and Sam, the movies would probably have failed. This movie did fail, because it could not make Pumuckl a convincing part of the world.
Das Beste, was Fernsehen zu bieten hat. (Spoilers)
Das ehemalige Schreiberduo Ronald D. Moore (Deep Space Nine, Battlestar Galactica) und Brannon Braga (Enterprise, Terra Nova) haben diese letzte Episode der Serie zeitgleich mit dem Kinofilm Star Trek Generations geschrieben. Sie sagen, sie hätten schon beim Schreiben gemerkt, dass diese Folge besser würde, als der Kinofilm. All Good Things ist wirklich ein herausragendes Stück TV, mit einer spannenden verzwickten Handlung, Top-Schauspielleistungen von Patrick Stewart und John deLancie und dem Rest der Crew. Die Gerichtssaalszene gehört bestimmt zum Besten, was die Serie je hervorgebracht hat. Dadurch, dass die Handlung in drei Zeitebenen spielt, und außerdem auch Außenaufnahmen gedreht und neue Sets gebaut wurden, bekommt die Folge eine fast Kinofilmähnliche Dimension. Häufig wurde die Serie dafür kritisiert, dass Handlungskonflikte nicht durch menschliche Lösungen entspannt wurden, sondern einfach durch technische Hilfsmittel, quasi ein Deus ex Machina. Diese Folge tut etwas ähnliches, die Crew der Enterprises muss in drei Zeitebenen zusammenarbeiten, um auf die technische Lösung des Problems zu kommen. (Patrick Stewart als Captain Picard ist das Bindeglied der simultan ablaufenden Handlungen und springt zwischen den Zeiten umher.) Doch das ist hier so gut gemacht, dass man in diesem Fall das sogenannte Technobabble (Technikgeschwätz) übersieht. Warum? Zum einen springt Picard am Ende so schnell, dass er, hat er die Lösung in einer Zeitebene heraus, er sofort die Informationen in einer anderen weitergeben kann. Alles folgt Schlag auf Schlag. Manchmal ist ihm Data mit der Lösung nur Sekunden voraus und die beiden sprechen die Lösung simultan. Durch die sehr gute Regie des Deutschen Winrich Kolbe wird das bloße Gerede über Technik fast wie ein Gedicht vorgetragen, oder, da alles mit Musik unterlegt ist, wie Sprechgesang. Besser geht es nicht.
Wenn in Amerika oder überall auf der Welt Serie auslaufen, dann ist dass meist kein großes Ereignis, da das Ende einer Sendung meist aus schlechten Geschichten und deshalb aus schlechten Quoten resultierte. Serien, bei denen das Ende fast ein kulturelles Ereignis war, waren M.A.S.H. , The Fugitive (Kimble auf der Flucht), vielleicht Lost, und Star Trek The Next Generation. So erfolgte die Einstellung nicht wegen schlechter Quoten, sondern, weil Patrick Stewart nicht mehr wollte und weil man die Serie im Kino weiterführen wollte. TNG war mit der Einstellung 1994 auf seinem Höhepunkt, und das in jeder Beziehung. Dieser Folge ist der Beweis.
Der Film gehört in die 250 besten Filme aller Zeiten.
Viele Menschen glauben, dass alle Dinosaurier in Jurassic Park von der Spezialeffektfirma Industrial Light and Magic (Star Wars) mit dem Computer gemacht wurden. Das wurden sie nicht, nur der kleinste Teil der Dinos entstand im Rechner. Der Rest waren/sind animatronische Puppen (Roboter) der Firma Stan Winston Studio (Terminator). Is das wichtig? Nein, denn die Verschmelzung beider Techniken gelingt so überzeugend, dass die Illusion auch noch nach fast zwanzig Jahren perfekt ist. Außerdem ist der Film so gut, dass man beim Zusehen nicht dazu kommt, über die Machart nachzudenken. Man ist von der ersten bis zur letzten Minute gefesselt. Der Film basiert auf dem Bestseller von Michael Crichton. Spielberg und Drehbuchschreiber David Koepp änderte einige Aspekt des Romans, die aber nicht sehr stören, wenn man nicht gerade ein devoter Fan der Romanvorlage ist. Ein Beispiel für eine Änderung: Der Charakter Hammond stirbt am Ende des Buches, im Film überlebt er und taucht im zweiten Teil wieder auf. Der Character Hammond ist der Besitzer der Firma InGen, welche im Film die Dinosaurier klont, um sie als Attraktionen in einem Vergnügungspsark auszustellen bzw. vorzuführen. Er wird von dem britischen Regisseur (Gandhi) und Schauspieler Richard Attenborough gespielt, der für die Rolle nach Jahren wieder vor die Kamera trat. Die anderen Schauspieler im Filmen waren keine Stars, als sie für den Film besetzt wurden, noch wurden sie welche, druch den enormen Erfolg des Films. Das haben wohl Spielberg-Filme so an sich, sie sind selbst der Star, sie machen keine. Nichts desto trotz sind die Schauspieler alle sehr gute Schauspieler, die ihren Rollen mehr Dimensionen verleihen, als ihnen das Drehbuch vorgibt. Zu erwähnen sind der Neuseeländer Sam Neill als Paläontologe Doktor Alan Grant, eine Rolle, die zunächst Harrison Ford angeboten wurden. Seine Freundin Ellie Sattler wird gespielt von Laura Dern, Tochter von Hollywood-Veteran Bruce Dern. In der Rolle von Hammonds Enkel Tim ist Joseph Mazello zu sehen. Damals Kinderschauspieler, heute spielt er in Filmen wie G.I. Joe oder Sozial Network. Der Wildhüter Maldoon wird gespielt von Bob Peck, einem mittlerweile verstorbenen englischem Schauspieler, der durch die Mini-Serie Edge of Darkness bekannt wurde. Diese Miniserie aus dem Jahr 1985 wurde 2010 mit Mel Gibson in der Hauptrolle als Kinofilm unter dem selben Titel neu verfilmt. Der beliebteste Charakter im Film so wie im Buch ist wahrscheinlich der Chaostheoretiker Ian Malcom, gespielt von Jeff Goldblum, welcher in der Fortsetzung Lost World die Hauptrolle spielt. Der einzige tatsächliche Filmstar in Jurassic Park ist wohl Samuel L. Jackson als Computertechniker, der aber zum Zeitpunkt, da der Film gedreht wurden, noch keiner war. Erst ein Jahr später wurde der mit Pulp Fiction weltberühmt. Aber wie gesagt, der Film wurde nicht für einen Star gemacht, noch dient er als pures Vehikel Effekte vorzuzeigen, wie z. B. Transformers, sondern er verbindet alle einzelnen sehr guten Elemente - auch die Musik von John Williams - zu einem sehr guten Ganzen. Ein fast perfekter Film, der mit Spannung, Action, sehr guten Effekten und gut geführten Schauspielern zu zwei sehr guten Stunden Unterhaltung zusammengeschnitten wurde. Den kann man sich immer wieder anschauen.
I saw a special about the special effects which would feature in this episode of Tatort (crime scene). That special made me watch this show. Ironically the special effects were the worst part of the episode. The direction, the actors, the plot, everything else was so good. The characters were convincing and well portrayed by their actors. And although I liked all the actors - Ken Duken is always good - Kurtulus deserves a special mention. He really is an interesting leading man. He never overacted, he never fell out of his role, and the dialogue coming out of his mouth never felt stupid. So oft, German actors cannot speak their dialogue convincingly, often because the dialogue is stupid. Here, Kurtulus nails it completely, everything he is given, he pulls off. They should give him roles in features. Given the fact that the conflict between Christians and Jews and Muslims will or could increase in the future, so will/ could the demand for Arab (looking) actors. Well, here is one who is really good. I, for my part, will watch his future work.
The movie starts out with a lot of historical information given through subtitles rather than through dialog. This feels like an economical way to save screen time since this is a short film and it had to be one because of monetary reasons(at least so I heard). Then we are introduced to our two protagonists, Jakob Feister (Benjamin Kramme) and Carl Sand (Christian Nähte). And from there the movie moves on on a very high pace and it almost feels rushed. As if writer director Andreas Jaschke wanted to cram a feature of two hours in a short film of fifty minutes. And not only that; More characters are introduced constantly, the girlfriend of Jacob Feister, the plot's target August von Kotzebue, the ambitious policeman who tries to foil the conspiracy, his superior, the father of Jakob Feister, who is not pleased about his son's theological studies and his plans to marry an improper girl, and at last the leader of the Unbedingten. We have every character that we would find in a feature and and it feels a bit much. It would have been a lot better to only focus on one character, only one point of view and instead we have three or four. Furthermore, we have every scene that we would find in a feature, for example an establishing scene that shows the mood among the students towards the Unbedingten, a scene to establish the lovers, one to establish the plot, one to establish the conflict between Jakob Feister and his father, the subsequent decision of Jakob Feister to join his friend Sand to Mannheim to kill Kotzebue. The official synopsis says, that Jakob is frustrated about his father's denial to marry Luise and thus decides to join Karl. But this is not conveyed by the movie, at least I did not get that this is what triggered him to go to Mannheim. At the end of act two we even have a love scene, which I think is handled very well. The lovers have fun in bed, it is not just a montage of beautiful images. She even wants a second time, maybe to make him stay awake long enough so that he would eventually oversleep the next day. And in the fact that Luise does that lies a little problem, only a liittle one. If one reads a synopsis of the plot it always says: Die Unbedingten is about radical students Carl Sand and Jakob Feister and their plot to kill writer August von Kotzebue. Having just watched the film my synopsis would be: Die Unbedingten is about Luise, a stout-hearted girl, who embarks on trip through Germany to prevent her boyfriend from doing something stupid and ruining his life. But hey, there is nothing wrong about that, Anne Kanis as Luise does a wonderful job, her character is totally believable. She steals every scene she is in, even though the camera does not treat her as the main character, since she was not intended to be the main character (I guess). Nevertheless, the Luise character carries the plot, very refreshing, not at all stereotypical but that goes for the rest of the characters, too, for example Feister's father helping Luise and Sand calmly accepting Feister's refusal to come along instead of flipping out. (Which surprised me personally, because Christian Nähte has a tendency to over(re)act in his roles. He even went mad during the film's shooting, because some extras were a little too eager to throw him out of the lecture hall. Maybe this was good direction) Maybe the whole story should have been told mainly from her point of view. Das Wunder von Bern was not mainly about the soccer worldcup but about a father and his boy. So it might have worked here, too. But i think a a student of film one has to show his teachers that one can handle multible storyarcs, multible characters, multible motivations that eventually merge into one. I wonder if this was criticized by the film school's teachers or if they liked it.
Certainly they like the editing, for example the dinner scene in father Feister's house. First a closeup of young Feister looking at his girl friend, a closeup of her, a closeup of the father, and the wide shot saved to the last. I also like Sand's walk to Kotzebues front door, his point of view shot, the music, the staging of the killing, Sand talking very shyly. All scenes are staged well, you follow the characters, you want to know more about them, but again, the story feels all rushed. Maybe there is too much plot for 54 minutes. They should have given him the money for a feature, to flesh out the characters, some plot points and this part of German history. It would have been interesting to learn more about Germany in the 1820s because normally only the 1000 years between 1933-45 are depicted in movies.
The camera work, although I like it (the establishing shots of the cities are pretty cool), feels a little anachronistic and too modern, but I think the DP wanted to show what he can do, since the movie was his graduation, too. I think a simpler camera work ala Sachrang would have better suited the movie, its direction, and the story.
Anyhow, i like the movie and I would really like to know what grade the director got for his work.
I always remembered this one best, from all of the Kommissar Rex episodes, and I always remembered Christoph Waltz best, not his name, only his face and his character, who is also the title character and the murderer of the week. As much lighthearted this TV show is, in the scenes with the dog and his master and the police men, as gritty and depressing the show gets, when we come to the murderer. And Christoph Waltz is especially disturbing. He just nails those characters. But, when I looked up this title to review it, I just happen to see who the director of this episode was. And I was quiet surprised that it was Oliver Hirschbiegel, who, among others, directed DAS EXPERIMENT and DER UNTERGANG. He certainly is one of the better German directors. Well, the combination of a top director, a top guest actor and an already great show made this one a special episode.
In Germany there is a saying when one talks about a writer or a comedian that just nails down-to-earth characters in terms of dialog. "Den Leuten aufs Maul schaun." (to look on the mouth of the people) That's what happened here. Not every writer could have come up with this kind of dialog, because one cannot come up with this kind of dialog, one has to grow up with it or at least experience it first hand. People really talk that way in rural areas, even to this day. Peter Turrini is a master of crude yet intelligent dialog, memorable and strong characters and deep and meaningful stories. His other works come to mind, for example "Sauschlachten" (pig slaughter) and Rozznjogd (rat hunt), which stirred up great controversy, when they first premiered. I do not know, if it was the same with Alpensaga, but it is nevertheless great drama, great characters and an all upstaging Helmut Qualtinger. When this guy opens his mouth you are glued to his persona, one is just spellbound. You really believe, that he is the person he is playing. Hans Brenner (father of Moritz Bleibtreu) and the rest of the cast are also brilliant, there looks are just perfect for a drama set in the Austrian countryside.
I like this very much. The actors are superb, Gerhardt Lippert as the lead does a very good job. Gustl Bayerhammer is a very evil bad guy, something one would not never think he could pull off, but he did, very convincingly, I might add. His character, the Ertl Bauer, is very similar to Helmut Qualtinger's in Peter Turrini's Alpensaga. The narrator is outstanding. He speaks archaic language, talks as if he would fall asleep any second, but it fits the mood of the piece just right. I do not know why not more people know this, it is pretty unknown. Helmut Fisher of Monaco Franze fame has one of his last roles before becoming famous, the same with Martin Semmelrogge (Das Boot). Cinematography is not outstanding, which is a good thing, it is subtle and only adds to the almost documentary style of the three part miniseries, something I am sure the director intended.
The movie starts out on the planet of Nimbus III, where Sybok, a renegade Vulcan converts one of the locals and makes him one of his followers. How does he do it? He takes away his greatest pain. Many think this to be a stupid idea, but if you asked me, it is highly intellectual and a stroke of genius. Perhaps it is just handled the wrong way, from a directorial point of view. What I will attempt in this comment is not only to see things the way they are, but also how Shatner had originally envisioned them to be, but failed to do right, either by the lack of money or the lack of his own directorial skills. This brings me back to the point I started from. Why has the first guy we see on screen to be a drooling, speech impeded, nobody. Hell, even Abe Lincoln had a brighter future when he picked up his ticket at the box office. This guy would have done everything to get off this rock, even follow a mad man. But I think the idea itself is brilliant. How many movies do we know, where we pause for a moment and the hero tells somebody what is eating him, what his drive is, why he does what he does. By now, this has become a bit of a cliché. But Star Trek V makes it a plot point, a way to literally show us the feelings of our beloved characters. The sad thing is, it is not done very well, or at least not consequently. Although I like the Spock and McCoy scenes, we are not shown anything from the rest. Why waste screen time for the three emissaries on Nimbus III since they are nothing more than a McGuffin in the first half of the movie and almost completely disappear in the latter one. This time could have easily been used for the Enterprise crew, given them a more dignified role in the events depicted. It was a good thing of Shatner to give everyone something to do, but almost everything shown is done in a fun way and contradicts the character. We see the navigator and the helmsman get lost; the engineer bumps his head in engineering, and a lady pushing sixty performing a strip dance as if she were 20. Granted, those horny hicks in the desert probably did not care, but we as viewers are put out of the movie, another failure of the movie. While in Star Trek II it was made a point that Kirk is aging and the crew is aging, is this one, everybody is shown more agile than back in the original show. If we compare the appearance of Kirk in this movie and the next, he has aged almost ten years, despite the making of the two is only two years apart. Kirk is free-climbing in this and we are supposed to believe it. Then again, he falls right. Nevertheless the climbing scenes are a beautiful montage for the title credits and give the movie scale. The title credits as originally conceived by Shatner would have been one consecutive shot, beginning with a zoom out (following the first Sybock scene) of Nimbus three, then we go into space, travel to earth and then a zoom in on earth ending in an aerial shot of Yosemite, ala the "Powers of Ten." (http://www.youtube.com/watch?v=AUUkjWsNC9k&feature=fvst) Great idea, would have been awesome, but alas, not enough money. The filmed special effects by Associates and Ferren are bad. Someone said that their limited facilities, which resulted in a lack of time, had prevented them from doing multiple passes on the starships and models, thus not giving the shots depth and credibility. The in camera effects on the other hand look very good for the most part. We have the back projected star field whenever we look out of a window and that is very convincing, also giving the director the freedom to move the camera, a luxury that a blue screen background would have prevented back then. Another plus point are the transitions we get during the flashbacks of McCoy and Spock. Also done practically and very good. The only time the back projection did not work that good are the main viewer scenes. Since the bridge is lit very brightly, the contrast on the viewer is a bit low, but nothing to complain really. The bridge is very good in this one, as are most of the sets, beautifully lit and filmed. The camera-work is a highpoint of this film. One of my favorite scenes is the camera push in on the bridge, passing the actors ending on a monitor which shows us the approaching bird of prey. Someone called this an almost Hitchcockian moment, perhaps referring to the crane shot in Notorious. It is a very good moment that introduces us to the more than disappointing ending of this flick. Again, time, money and unconvincing special effects prevented this one from being what Shatner wanted it to be. I wonder if it had worked. Surely, he is not the best director, but the good stuff in his movie works very well and the major flaw is perhaps him directing himself. His whole performance screams leading man and hero, something that director Nick Meyer tried to reduce in his movies, with success. No wonder Shatner got the Razzie for acting.The dialog by David Loughery is over the top, out of character and silly. Harve Bennett euphemised it as "his delightful almost whimsical sense of humor" in the DVD featurette The Jouurney Begins, but I don't know. I could go on and on making this movie bad, despite liking it, dreaming of how it could have been. I think they should give him the money to fix this. On the other hand, I wonder, why Shatner does not put up the money himself.
Star Trek was fast, even faster than The Last Crusade. Indy3 is one of my all time favorite movies, and I consider it to be the best popcorn movie there is. It is so fast and so good that you tend to overlook all the stupid things and coincidences and there are quiet a lot. For example, when young Indy whistles for his horse and right after the horse come the bad guys in the car. But the movie is so good, you just overlook all that stuff. Star Trek is faster, but it does not lend itself as easily to suspension of disbelief. The coincidences are too obvious. For example why SpockPrime and Kirk are on the same planet, same continent, same cave. It is hard to swallow that. Why does the black hole in the beginning lead Nero exactly to that time and place it does to meet the USS Kelvin, why Old Spock comes out of the black hole just in time so that Kirk is matured into a young man and is ready to battle Nero. These coincidences are grand.
The character moments in Indy3 are top notch. Indy talking to his father aboard the airship, discussing their plan on the motorcycle and the end of course where Henry calls his son Indy for the first time and Indy subsequently lets go of the grail and can be saved. Those moments never feel rushed or too short, they are, just perfect. In Star Trek, they feel a little rushed, it is just about acceptable. And the character moments are not bad. They are very good, just a little too fast. They are so fast and they take place in odd places. For example when Spock leaves the bridge after his planet imploded, Uhura comes after him and they talk in the turbo lift. The same when Spock leaves the Bridge after he was relived of his command. He goes to the transporter room? Does not he have quarters? Perhaps they did not have enough money to build the sets.
About the sets. In TLC the sets were perfect. You always believed that a certain interior set belonged to the exterior establishing shot. In Star Trek that is not always the case. The sets in general. I like them just so. The bridge is nice. What is absolutely unacceptable is the use of industrial locations for the bowels of the ship. You just do not believe you are still aboard the Enterprise when the action shifts to engineering or the shuttle bay. That pulls me out of the movie and that is not good.
The action and the SFX in Indy3 are perfect. Granted, some of the special effects look a bit dated by now, for example the plane dog fight, but oddly enough it does not detract from the movie. (Some of the mate lines were removed in the DVD versions) The action sequences are inserted so seamlessly, they come and go so fast, you do not even realize that you are in one, and when you do, they are over. (plane battle, plane car chase, tank vs. horse) The action in StarTrek is pretty good and the effects are top notch. The life action and the FX blend flawlessly, also because the lens flare that dominates the life action cinematography is copied in the CG stuff. Were it not for the industrial interior Enterprise sets, the movie would feel completely rounded.
What I do not like, and I am afraid that future movies will bring more of it, is the shaky camera and the quick cuts that Bourne 2 and 3 director Paul Greengras pioneered. You can not relish a good special effect when you do not see it properly. But hey, that is how Abrahms envisioned the movie, that is the way it is done. Certainly a great artistic achievement, to uphold the style, the pace and the look throughout the entire movie but it is to fast and flashy for my taste.
J. J.'s character direction and scene setups are a double edged sword for me. Theere are good scenes, some very good, but the Kobayashy Maru Test was a joke. Could Kirk be more pretentious and casual when facing Star Fleet's hardest test? And little bit more seriousness would have made the scene much better and not degraded it into a mere joke. And it was too fast. Too slow on the other hand was the Spock, Kirk scene on the ice planet. Are not they in a hurry? Do not they want to find the outpost? Need not Kirk get back to the ship? Yet they sit there, having a talk and barbecue around a log fire. (Where did they get the logs on a ice planet. Christmas trees?)
The music in the Indy movie was great, had the best music in any Indy movie, the best themes. The Star Trek score is great also, Kirk's theme is cool, the title theme is beautiful, although I missed the fanfare. I wonder why the film's composer was not allowed to use it.
The acting was very good, the casting perfect. They had so many actors from so many different genres, their fans alone would have made the movie a blockbuster. But since the movie is so appealing to a general audience it is/will be a huge success. It will bring in a lot of new fans. The sad thing is, I think that most of the old fans, as myself, do not think the movie to be so good. And do not get me wrong, I do not think it is a bad movie, and I hope it will make a lot of money and bring us seven sequels, but as a fan, I am a little bit disappointed. If the movie took its time, if it was a little bit more traditional, it could have been so much better.
Haven't seen this in a long time and it is not the best episode of DS9, but like early TNG episodes, early DS9 episodes tent to get better over time.
When this episode and DS9 first aired, I did not like it very much, now I like it. When Voyager first aired I did not like it either and I hoped that the same would happen, what happened to DS9 a couple of years earlier. But it never happened.
This is actually very entertaining with kind of a surprise ending. Just watch it, you will like it. The characters are not fully developed yet and feel fresh.
What I did not like was the pacing of it. I think it is okay to incorporate gay characters, but their scenes dragged endlessly and did not really serve the story. Without these scenes this would probably not have been a two parter, but one fast episode and that would have been a damn good show. The effects were pretty good, I especially liked the phaser shots and the creature effects. The acting was not that good. I wonder why they use Andy Bray so little. He is probably the best actor of the bunch. The jokes were good, the Bullseyejoke and the Sulujoke. The action was good, and the story. So far, the episodes have become better and better with each outing. A few more and we have a pretty good show.
The ARD knows how to make a good TV-movie. (minor spoilers)
It seems that everything Pro 7 (and the private stations) does wrong, when producing a TV-movie, the public-service-stations do right. Maybe because they hire good actors, directors and writers for their shows. I do not know, where to begin. The actors were top notch. Thomas Kretschmann, who we last saw as the Sea-Wolf, played Captain Jürgen Schumann in this one. And in my opinion, he was never better, he completely disappeared in the role. But so did all the other actors. Jürgen Tarrach as Hans Jürgen Wischnewski and Herbert Knaup as the GSG9 leader were good as always. Christian Berkel, who I think is one of the best German actors, played chancellor Helmut Schmidt. And although I knew he was in this movie, I did not recognize him until half way through. He wore a toupee and, I think, prosthetics, but he was nevertheless, or because of that, very good. Of all the actors Simon Verhoeven impressed me most, because of his subtle acting style. When watching him, I never thought I watched an actor at work, but a real person. That was the case with all the other actors, too, but somehow Verhoeven was little bit better. His "real" acting and that of the other actors only added to the documentary style of the movie. Sometimes I almost forgot that I was watching a staged movie. The camera was shaky and it is obvious that the director was inspired by Battlestar Galacticas camera work, which is not a bad thing. Roland Suzo Richter did a great job directing this movie, which I had hope would become a feature film. But, alas, it is not. Speaking about the director - this is what you get, when you hire a good one, namely a good movie. All the scenes were very well staged, especially the action scenes. They did not milk the stunts like the German TV shows produced by Action Concept, who always show every stunt, and be it only a guy falling from a bike, from 25 angles. I could go on and on, but why, when everything was good. 8 out of ten, because it was only a TV-movie.
After viewing this, two things immediately came to my mind. Firstly, that this is by no means as good as the original ZDF four-parter and secondly, that it is far from the mess that the Pro 7 Treasure Island remake was.
The positive that can be said so far (after watching the first part) is that it did not try to be something else than Jack London's story (They completely crippled last year's Treasure island). It is even closer to the novel than the ZDF production, since they (back in 1971) mixed up different Jack London stories and themes. But somehow it worked back then.
What did not work in this production and in my opinion the weak point is the acting. You can say what you want about Raimunf Harmsdorf as an actor, but he absolutely nailed the part of Wolf Larson in the original. Thomas Kretschmann certainly looks the part, face-wise. He is not as muscular and bulked up as Harmsdorf was. He may be a good actor as well, but the lines he is given are absolutely bad. The whole script is bad and the direction as well. Krtschmann might come out of this alive, but all the other actors were absolutely not able to compensate the writing with their acting skills, especially Florian Setter (Weyden) and Alexander Hörbe (the sea-cook.
The others, for example the actors of Leach and Johnson were agreeable. The high points of this was the production design and the music.
I don't know where Pro 7 finds those actors, writers and directors.
The only silverlining is the up-coming ZDF production of the Sea Wolf starring Sebastian Koch in the title role. He is one of my favorite actors and if he is not able to pull it off, I do not know who can.
This is a very well directed TV movie, well written and acted. The actors are convincing, especially the pretty Marie Zielcke is very good in her role. She is very sexy, too. The bad guy may be a bit over the top, but apart from that, everything has the usual German down to earth feeling to it. The story is good as well and combined with the movies direction conveys a good sense of reality, which one expects from a German production. The camera work is simple but that is not negative, on the contrary it blends in well with the movies atmosphere. If you can find it anywhere on the TV watch it if you have nothing else to do, you will have a good time.
This title is broadcast every year on All Saints' Day on German television. It is the story of the poor locksmith Brandner Kasper, who is visited by the Boandlkramer (the Bavarian death)in order to be taken to heaven. But since Brandnerkasper doesn't want to die, he makes his guest drunk and cheats at a card game. He gains 18 more years on earth. This cheating scene is the central scene in the entire piece and so well acted by Fritz Strassner and Toni Berger that one can watch it time and again. Especially Berger as Boandlkramer is a joy to watch and is copied ever since. For him, it was the role of his life. The rest of the cast is a show case of Bavaria's finest actors from the 70's, for example Gustl Bayerhammmer, Ernie Singerl, Alfred Pongratz and Ludwig Schmid-Wildy, to mention only a few. Since part of the movie is set in heaven or acted against blue screens there is a fair amount of special effects in it. They are bad from start to finish, but give the piece a certain charm. The heaven scenes are very reminiscent of Monty Python's animations. So, if you are a fan of Bavarian tales, Bavarian humour, and Bavarian actors, try this, you will not be disappointed.