Ludo Decker and Anna Gotzlowski have been living together for two years. Everyday routine has set in, with Ludo neglecting his household responsibilities much to Anna's dislike, while he is... See full summary »
In order to catch a basketball from the favorite team of his girlfriend's spoiled son, Fred poses as a numb, wheelchair-bound fan. But when he catches the ball, he also catches the ... See full summary »
Alexandra Maria Lara,
Christoph Maria Herbst
What a Man: The young teacher Alex is abandoned by his girlfriend Caroline and therefore begins a journey in search of himself. But how he overcomes the pitfalls out there for a modern man? And what is it that makes a man a man?
An employee at a professional separation agency, a business that helps couples break up, Paul tries to tackle the problems that come with Toto, the boyfriend of a customer, while he has his own thinking to do about love and relationships.
Ludo Decker and Anna Gotzlowski have been living together for two years. Everyday routine has set in, with Ludo neglecting his household responsibilities much to Anna's dislike, while he is in turn annoyed by her constant complaining. When Ludo runs into his former lover Marie in the disco, and Anna's old boyfriend Ralf comes to stay in their flat for a few days, the young couple faces serious jealousy and doubt in their relationship. Anna secretly reads Ludo's phone messages, while he in turn stumbles upon "The List", an account of Anna's former lovers-including Ralf, who scores better than Ludo does. After a number of provocations, Ludo beats Ralf in a restaurant, and angrily leaves Anna. Even though the two still strongly care for each other, they end up sleeping with their respective ex-lovers. Ralf confesses that he never stopped loving Anna, but she rejects him and tells Ludo what happened. Even though Ludo has cheated on her as well, he angrily argues that she herself told him ... Written by
Till Schweiger is unfortunately one of those German directors who seem to "engineer" their movies in order to cater to a maximum degree to a certain target audience. By that I mean that he takes some simple ingredients that he knows will please the audience and loosely connects them to form a film.
He was clearly trying to sell this flick to women, so he took cute children, romance and jealousy, a main character discovering his responsibility in life (an invariant in films by Schweiger), inhibited erotic scenes and some stupid, below-the-belt kind of jokes and glued them together to an incoherent, predictable and largely non-entertaining collage.
Sometimes, the results of Schweiger's industrial film-making approach can be decent, as can be seen with Barfuss. Here however, the plot is just mundane to the point of being non-existing, the jokes are embarrassing and contrary to the first film, even the children are portrayed in such an unrealistic way that they don't convey any of the desired cuteness anymore.
As other reviewers have pointed out before me, the production company probably only wanted to make a quick buck with this, following up on the success of Keinohrhasen. If you think that you like a film formed from the above-mentioned ingredients than you should probably watch Keinohrhasen instead - it's exactly the same, only with a slightly better plot.
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