Netflix Film Polar: No one announces at Lord’s blood

murder and mayhem: a Lot of people love that – as long as it happens in a safe distance on a screen or a canvas. The tricks, violence on film to portray, ranging from the Omission of the same in “Sicario” their dreadful legacies – up to the humorous, exaggerated or cynical-a pornographic Exhibit. The latter affects to a larger, presumably blunt-growing audience, the presentation in the Film is perceived to be attractive to the media, psychological findings, supposedly, even if often unpleasant. In the year 2013, the researcher Anne Bartsch and her American colleague Louise Mares have to submit a study to the fascination of media violence, to be interviewed in the 482 participants their perception of the relevant offers were. Result: violence in the Film must reflect the reality, in order for it to be tolerated. This setting increases with age, supposedly.

Axel Weidemann

editor in the features section.

F. A. Z.

Now you need to look at Directors such as Quentin Tarantino, David Leitch, Lars von Trier, or Takashi Miike already very accurate and the background noise that has to do with style-love, of profound life issues, supposedly myths and laurels, to recognize the deeper meaning. Nevertheless, they produce as successful as it is visually stunning media water heater.

Mads Mikkelsen is primarily Mads Mikkelsen

Netflix has now with the “Polar” a Film that aims in brutality, to the last Detail, the stylised “Sure Shot” to the heart of the audience. Directed by the Swedish Director Jonas Akerlund, is familiar with blood, sweat, and pace, because he was in the eighties, once the drummer in the Swedish Black -, Viking -, Pagan-Metal Band “Bathory” (according to the Hungarian “blood Countess” Erzsébet Báthory), and thereafter mainly music has shot videos for Paul McCartney to Rammstein. Based on the screenplay by Jayson Rothwell, the eponymous Web-Comic by the Spanish author Victor Santos from the year 2012, the theme is again close to the Japanese, because it is at the end of always – Original “Golgo 13” in surgery.

The Film: Mads Mikkelsen is primarily Mikkelsen Mads and fits, by sweater with a sad wolf looks mostly in black Wool puppy look silent on the cold world, excellent in the role of Duncan Vizla, known as the “Black Emperor” (in the Comic and Vice versa “Emperor Black”). He is the best and the worst of all the assassins, but now, according to the contract of employment with his boss, “Lord blood” (also nice: Matt Lucas from “Little Britain”), with fifty years in retirement. Mr blood is German, a miser, and completely insane, respectively, consistent capitalist and wants to honor the Emperor, the Pension of eight million dollars, so he can sell his assassins for hire profitable. This is a mistake.

criminologists would of “Übertöten” speak

the movie says it bitterly serious, to my it is politically totally incorrect way, and most lack of seriousness very seriously, he makes clear from the beginning. Since the former “Jackass” Johnny Knoxville is animated as an expendable character, Michael Green of a sinful seductress by the name of Sindy (Yes, really: Ruby O. Fee) to the Pool; and then, in his embarrassing shown explicitly to be Animated, with the help of numerous arms dumps. The sets the tone. Criminologists would speak here of “Übertöten” for professional killers anything other than typical. But here, it should be does not reflect the reality. It is in this sense Brutalisnky-Pilcher for Advanced.

With the black Emperor is the only externally interesting killer force – consisting of Hilde (Fei Ren), Karl (Robert Maillet), Alexei (Josh Cruddas), Facundo (Anthony Grant), and the said Sindy – your love trouble. Figures appear to be from the Emperor eliminated. Wants to actually, as always, enjoy the quiet of his secluded log cabin on the frozen lake, while he anbandelt with the shy Camille, who is, happily, played in a nuanced way by Vanessa Hudgens. Provides you with their variety of facial Expressions of the counter-proposal to Mikkelsen’s makes the forgotten unit of the face.