Man weiß nicht, was in Clint Eastwoods Film»The to Paris«über den Thalys-Anschlag schwerer wiegt: die fragwürdige. bent-magazine.com - Kaufen Sie to Paris günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu einer. Vor drei Jahren überwältigen drei Amerikaner in einem Zug von Amsterdam nach Paris einen Terroristen. Jetzt hat Clint Eastwood einen Film. <
Kritik zu The 15:17 to ParisThe to Paris ist ein Film von Clint Eastwood nach wahren Ereignissen über einen Terroranschlag in einem Zug, bei dem drei US-Amerikaner versuchten. Helden, die sich selber spielen: „The to Paris“. Clint Eastwood stellt den vereitelten Zug-Anschlag von nach. Aber nicht mit. Clint Eastwood verfilmt in „The to Paris“ eine wahre Geschichte. Und besetzt die Hauptrollen nicht mit Stars, sondern mit den echten „All.
15:17 Paris Navigation menu VideoTHE 15:17 TO PARIS - Official Trailer [HD]
15:17 Paris filme Android Whatsapp Backup Auf Iphone kostenlos sehen. - „Wir hätten sterben müssen, aber jetzt sind wir hier“Bewertung: 1. Im August werden drei Amerikaner zu Helden, als sie einen Terroranschlag nahe Paris vereiteln. Sie befinden sich damals im Thalys-Zug von Uhr in die französische Hauptstadt. Der Lebensweg dieser Menschen wird nachgezeichnet, die. to Paris (Originaltitel: The to Paris, deutsch Der er nach Paris) ist ein US-amerikanischer Spielfilm von Clint Eastwood, der am 9. Februar . Man weiß nicht, was in Clint Eastwoods Film»The to Paris«über den Thalys-Anschlag schwerer wiegt: die fragwürdige. bent-magazine.com - Kaufen Sie to Paris günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu einer.
Filme von Clint Eastwood. Kategorien : Filmtitel US-amerikanischer Film Historienfilm Terrorismus im Film Schienenverkehr im Film Clint Eastwood.
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Then we get our first glimpse of what's to come, i. And then we're back to the boys again. Only now they're young men and we see what they're doing once they've left education.
Only we mainly just focus on one of the three. The other two seem to get relegated into secondary characters. Cue another flash-forward to the terrifying events on the train and we get back to the men travelling round Europe.
Then the bit on the train happens. Then the film ends. Now, you may think I'm being quite cynical and scathing towards the film, but I did actually enjoy it.
I just thought it was going to be something it wasn't. Once the child-actors are out of the way the adults take over and they're all decent enough heroes who you find yourself able to root for.
Clint Eastwood's direction is nothing special, but it's functional approach works well with the subject matter, i. It's not a bad film, but I think any audience needs to know that what they're sitting down for is some sort of drama about regular guys who then happen to get caught up in a terrorist attack.
If you go in expecting 'Die Hard on a train' then you're going to leave thoroughly disappointed. It's a slow, character-driven piece that is deliberately underwhelming in order to show how real life terrorist attacks differ to the Hollywood representation.
If you're in the mood for something slow, serious and with meaning then you should enjoy this. All Titles TV Episodes Celebs Companies Keywords Advanced Search.
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Full Cast and Crew. Release Dates. Official Sites. Company Credits. It was this rude awakening that made me realize what a terribly written slog I was in for.
At no point were these supporting characters going to come across as authentic human beings. Instead, it's a world populated by robots with bad social skills or unshakable faith played by familiar actors Judy Greer, Jenna Fischer, Thomas Lennon, Tony Hale, Jaleel White of all people.
Also, what little kid has a Full Metal Jacket poster in his bedroom? Did he not understand what that movie was about?
These men can rightly serve as an inspiration, rising to the occasion in a true test of courage. No one will challenge the heroism. But what else is there to this story?
The attack is presented as the framing device and as it plays out we segue into lengthy flashbacks about their lives leading up to this pivotal point in time.
It's just that these three men lived fairly uneventful, normal lives until finding themselves in a unique situation. We don't seem to trace any significant, formative moments.
Spending time with them as kids, then teens, and finally as adults doesn't so much provide greater understanding of them as people as it does pad out the running time.
We watch them get in trouble twice at school for not having a hall pass. We watch them watch football. We watch them endure training montages.
We watch the trio tour the sights of Italy and eat gelato. We watch an Army team retrieve a backpack. We watch Spencer get demoted for not stitching properly.
Seriously, this is given time. It's not even until a full hour-plus into the movie before they confront the attack on the train.
Chronicling the lives of normal, real-life people under extraordinary circumstances is not by itself a fatal flaw, as evidenced by the masterful and mournful United The power of empathy allows us to leap into a multitude of perspectives.
However, with United 93 there was an ongoing story that could unfold because of the scope of events. There were developments, deadly complications, and the slow realization of what was happening, what was going to happen, and what needed to be done.
With to Paris, the attack is uncomplicated and over relatively quickly. There's a reason Eastwood saves the train attack for the end because it cannot function as a sufficient movie plot on its own.
Eastwood had a similar predicament with his previous film chronicling the heroism of the pilot who landed a plane on the Hudson River.
The plane crash was thrilling and Tom Hanks added some layers to the portrayal of a man uncomfortable with the spotlight.
It's a tedious trek to an all-too swift climax. The other large miscalculation was having the real-life actors portray themselves.
These guys just are not actors. I suppose Eastwood felt the real-life figures would best understand the emotions of each scene, in particular the attack, but another approach would be simply teaching actors.
The forced verisimilitude feels like a marketing gimmick meant to appeal to a select audience. Making things more difficult is that these guys just aren't that interesting as subjects.
Sure there are broad strokes of characterization applied here and there but it's with very minimal effort see above for some of the just-had-to-include plot moments.
This is another reason actors would have been preferable, because these guys' lives don't have to be interesting for my benefit.
Their lives were not destined to one day entertain me on the big screen. They can simply be normal people. On the other hand, watching normal people do normal, boring things without a more enriching sense of introspection, personalities, or depth is like being trapped watching someone else's home movies on a loop.
Spencer Stone performs the best of his buds but none of them should expect a second career as an in-demand thespian. I feel bad saying this but I really just didn't care, and that's because the movie gave me no reason to do so here.
Yes, these three men are heroes and their sense of normality might lend itself toward a larger theme about the everyday capabilities of heroism, but there isn't enough here to make me care beyond the train attack.
The screenwriting does not present them as multi-dimensional characters and perhaps that's because of the guys' limitations as actors, exacerbating a spiral that only makes to Paris less involving as it chases after the idol of authenticity.
Eastwood is known for being an economical filmmaker but it feels like he should have been even more judicious here.
The adherence to strictly the facts strips the film of some of its larger emotional power. There's far too much filler and not enough substance to balance out plus minutes.
February 7, The New York Times. The New York Times Company. Entertainment Weekly. Meredith Corporation. Ebert Digital LLC.
Retrieved September 28, Thalys Oignies , Pas-de-Calais , France. Anthony Sadler Alek Skarlatos Spencer Stone. The to Paris.
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Download as PDF Printable version. Theatrical release poster. The to Paris: The True Story of a Terrorist, a Train, and Three American Heroes by Jeffrey E.
Air Force Airman, Alek Skarlatos, a former Oregon National Guardsman, and Anthony Sadler, a senior at California State University at the time of the incident.
On that August day, the trio was riding on a Thalys train headed towards the French capital when a man armed with an assault rifle and pistol opened fire, wounding a passenger.
A struggle to restrain the gunman ensued, with Stone and Skarlatos instinctively deciding to charge at the assailant, and Sadler not far behind.
Despite several injuries, including a slashed neck and thumb for Stone, the three friends managed to overpower the gunman with the assistance of a British passenger.
The four were hailed as international heroes and received various honors for their valor. Stone and Skarlatos both had some troublemaking tendencies growing up and could often be found shooting authentic-looking replica guns around their neighborhood for a paintball-like game called Airsoft.
The filmmakers changed the hometown of the friend Stone and Sadler met while on a gondola in Venice. That decision was likely made to set up a conversation in which Sadler riffs on how uncanny it was that three Californians would meet on a boat in Italy — creating a more compelling reason for Lisa played by Alisa Allapach to travel alone with two strangers.
Lisa really did attempt to put the men off from going to Paris. They struggled to find a reason to leave Amsterdam — the city they most enjoyed during the trip.