Redbelt ist ein US-amerikanisches Sportdrama aus dem Jahr Regie führte David Mamet, der auch das Drehbuch verfasste. In den Hauptrollen sind. Redbelt – Zum Kämpfen gezwungen: Sendetermine · Streams · DVDs · Cast & Crew. Redbelt: Actionfilm von Chrisann Verges mit Joe Mantegna/Enson Inoue/John Machado. Auf DVD und Blu-Ray.
Die Filmstarts-Kritik zu Redbeltdupwizz.com - Kaufen Sie Redbelt günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu einer vielseitigen. Redbelt. IMDb 6,71 Std. 39 Min+. When jiu-jitsu master Mike Terry (Oscar nominee Chiwetel Ejiofor) is conned by a cabal of movie stars and promoters. Redbelt. Die Kampfsportschule des Jiu-Jitsu-Lehrers Mike Terry (Chiwetel Ejiofor) steht kurz vor der Pleite. Als er den Filmstar Chet Frank (Tim Allen).
Redbelt Navigation menu VideoREDCAST #10 LGPD na prática
Kata Boxing gloves Practice weapon Punching bag Pushing hands Randori Sparring. Brazilian jiu-jitsu Judo Jujutsu Sambo Shuai Jiao Sumo Wrestling.
Bando Boxing Capoeira Karate Kickboxing Lethwei Muay Thai Pradal serey Sanshou Savate Taekwondo Vovinam. Aikido Aikijutsu Baguazhang Tai chi Xing Yi Quan.
Professional boxing Professional kickboxing Knockdown karate Mixed martial arts Pankration Submission wrestling Vale tudo. Arnis Bartitsu Hapkido Kajukenbo Krav Maga MCMAP Pencak Silat Systema Wing Chun Legal aspects Silat Melayu.
American Kenpo Chun Kuk Do Jeet Kune Do Shooto Shorinji Kempo Unifight. Daniel Kaluuya , known for his roles in " Black Mirror " and Get Out , stars in Judas and the Black Messiah.
Watch the video. Is there room for principle in Los Angeles? Mike Terry teaches jujitsu and barely makes ends meet.
His Brazilian wife, whose family promotes fights, wants to see Mike in the ring making money, but to him competition is degrading.
A woman sideswipes Mike's car and then, after an odd sequence of events, shoots out the studio's window. Later that evening, Mike rescues an action movie star in a fistfight at a bar.
In return, the actor befriends Mike, gives him a gift, offers him work on his newest film, and introduces Mike's wife to his own - the women initiate business dealings.
Then, things go sour all at once, Mike's debts mount, and going into the ring may be his only option. Advertising an all-star cast, the trailer for Red Belt, and two generous reviews from otherwise reliable TV sources, inspired hope in me that Red Belt might reset the bar for martial arts action films, marking an end to the Bruce Lee era, exiting that dragon and entering a new era of fight realism adjoined to excellence in cinema.
I believe David Mamet wanted to make such a movie in Red Belt, and failed. Key themes in Red Belt, and the overriding moral dilemma confronted by the lead character, simply did not amount to much.
They present a character, Mike Terry, self-defense instructor, man with profound conviction to his principles, place him in a silly, laughable, and totally unbelievable situation, and gets worse from here.
There are few fight scenes in Red Belt, and this was okay by me because the goal, I thought, was to make a real movie, unlike film fodder from Charles Norris et al,where plots are the meek excuse for flashy, over-choreographed fight action at every street corner, and good guys always prevail.
Sadly, problems for Red Belt begin at the plot, which was not terribly engaging or inspiring, and riddled with more holes than gay porn.
Some plot development was just plain silly, and other story lines, like the idea that professional fighters in the violent cage of MMA, would sign onto a fight card and willingly subject themselves to a severe physical handicap - an arm tied down to the waist,and face a fighter sans handicap, or that a state regulatory agency would give the stamp of approval to such an event, is absurd, if not downright boneheaded.
The whole idea of pitting unequals against each other, is contrary to the essence of MMA, where men bring their very best against that of other men.
How Mamet lost sight of this is beyond me. Besides the plot's fatal flaws, the fight scenes are sabotaged by poor camera angles, and less than thrilling technique.
No disrespect to the fight choreographers, Rico Chiapparelli and John Machado, both of whom could beat me down with a mild case of halitosis,the fight scenes in Red Belt could have been more dynamic and still manage to capture realism.
Even the two fight scenes critical to the plot, were dull. MMA and BJJ enthusiasts will be disappointed. A few twists of the camera lens, an omoplata here, a gogoplata there, could not have rescued Red Belt from its flawed plot, but would have made a difference to appreciating the fight aspect of the film.
At this end, the trick that Mamet missed was to achieve interesting, exciting fight action, and unfortunately,as fight action goes, Red Belt taps to a submission in the first round,via guillotine choke.
I am a fan of Chiwetel Ejiofor Mike Terry, lead character , and I would not have gone to Red Belt had he, or an actor of his caliber not starred in the movie.
In this role I found myself liking him, but feeling relatively neutral about it. This I am sure is due to the plot issues, and unimpressive script.
It is not bad writing, nor is it good, and I expected better from a Mamet film. And Ejiofor, should he want to go down the path of action star,deserves a better vehicle.
The tag line for Red Belt, "There is always a way out. You just have to find it," is a hokey rip from BJJ academies. They also abuse the axiomatic wit that martial artists say about the colored belt system, that belts are symbolic and, "just hold up your pants" - a poor choice to embrace twice, and canned lines of this ilk are no help to an already struggling script.
But,no outstanding performances, not even Ejiofor. I need to be fair and note that I was expecting the MMA guys to be awkward and stiff under the lens, but they were not half-bad, and exceeding my expectations.
He incapacitates several security guards trying to stop him and is ultimately engaged by Ricardo. The audience and camera crews take notice as Mike and Ricardo face off in the arena's corridors.
Inspired by the Professor Dan Inosanto , an elderly martial arts master attending the match, Mike manages to slip a difficult choke hold and defeats Ricardo, making it onto the ring to speak to the Professor personally.
He is approached by Morisaki, who offers Mike his ivory-studded belt, previously referred to as a Japanese national treasure, as a sign of respect.
He is then approached by the Professor himself, who proceeds to award the coveted red belt to an incredulous Mike, and embraces him, acknowledging his dedication to the art.
Mamet has described Redbelt as a samurai film in the tradition of Kurosawa. Randy Couture and Enson Inoue have acting roles, as does Jean Jacques Machado 's brother John Machado, who also planned some of the fight choreography.
Dan Inosanto also has an acting role. Mamet has earned the rank of purple belt under the tutelage of Renato Magno, who served as the film's jiu-jitsu consultant.
The film was produced by Chrisann Verges. David Wasco served as production designer. Debra McGuire designed the costumes and Stephen Endelman provided the music.
Cinematography was done by Robert Elswit and the film was edited by Barbara Tulliver. John Machado and Rico Chiapparelli were the fight choreographers.
Chiwetel Ejiofor's stunt double was Aaron Toney and Tim Allen's stunt double was Todd Warren. In an interview with Iain Blair of Reuters Life!
Sony Pictures Classics co-founder and co-president Tom Bernard said there were two marketing campaigns for the film, "one directed at MMA guys and another at the more upscale theaters.
The site's critics consensus reads: "Mamet's mixed marital[sic] arts morality play weaves between action and intellect but doesn't always hit its target.
Many critics praised Chiwetel Ejiofor for his performance in the film. Los Angeles Times film critic Carina Chocano described the film as "tricky and engrossing" and "a contemporary noir with a samurai movie interior.
Several critics called the story reminiscent of films from earlier decades. Ruthe Stein of the San Francisco Chronicle said the film is "entertaining in a pulpy kind of way, like the fight films of the s and '40s, and more accessible than most of Mamet's movies.
The ending of the film was criticized by several critics. Tasha Robinson of The A. Club said "The film unravels a bit in the last few moments, amid unanswered story questions and a simplistic climax, but until that moment, Redbelt is Mamet's richest film of the decade.
Regarding the fight scenes in the film, Rea wrote "Mamet is a master of talk, not action" and said " Redbelt' s ultimate Ultimate Fight moment feels sorely lacking.
In The Weekly Standard , Sonny Bunch wrote that the film's "heart is not in the twists and turns [ It's about a contest between intelligence strength, leveraged by sleight of hand.
The fight is fixed. So is the movie. Deal with it. Brian D. Top Box Office. Critics SIGN UP LOG IN. Home Box Office TV DVD MORE.
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