Der Letzte König von Schottland - In den Fängen der Macht

Der ausgezeichnete Forest Whitaker, der unterforderte James McAvoy (die Hauptfigur wurde echt schlampig geschrieben – die Drehbuchautoren sollten sich schämen!), das schöne Afrika, die noch schönere Gillian Anderson… Und wo ist das versprochene Drama geblieben? Ich war nicht ausgesprochen enttäuscht, aber der Film hat absolut nichts, was mich schockiert hätte oder wo ich gedacht hätte, dass Amin eine richtige Bestie war. Natürlich möchte ich nicht das Ermorden von Hunderttausenden Menschen sehen, aber was sollte mich dann bei Der letzte König von Schottland - In den Fängen der Macht beeindrucken? Die letzte halbe Stunde? Ja, die war wirkungsvoll. Die Zahl der Opfer von Amins Gräueltaten? Die war es nicht mehr. (07.12.2012)

The environment of Uganda and the figure of Idi Amin are about the only two things that are real here. Everything else is thought up in an uninteresting and often played out story about a naïve young man who falls under the spell of personality, only to snap out of it on time, uncover crimes, and so on. The main character is an unlikeable lout and the only thing that makes him bearable is the charismatic McAvoy, although he has absolutely nothing to work with. This is not the case with Forest Whitaker, but an actor of his stature is somehow expected to play such an impressively rewarding role without overdoing it. The atrocities of Amin's government call for many strong scenes; unfortunately there is an absolute minimum of them here and the film begins to work only in the final twenty minutes. And that's more because of classic thriller tropes than the depiction of real events. This is a huge shame that unnecessarily relegates the film to the role of a reminder that someone like Amin once existed; and if you want to know something more, you will have to do your own research. The creators cleverly managed to cover up the low budget through editing, and the result is visually appealing enough. The Last King of Scotland is a movie that is interesting only because of Whitaker's performance. And even that is not so memorable. To be completely honest, he has many better roles to his credit. (14.02.2007)

The five-star Forest Whitaker in an otherwise average three-star film. This film shows how advanced Euro-American cinema approaches developing countries, where the main character of a film set in central Africa must necessarily be a white European to cater to the audience in economically advanced countries. Thus, the story of a British guy who comes to Africa to have fun and gain some life experience is attached to the drama of a dictator from Central Africa. However, the script failed to convincingly justify the existence of the main character, because the clear standout and magnet of the film is the self-proclaimed president Idi Amin, whom Forest Whitaker undoubtedly gave more charisma than the dictator had in reality. In my opinion, the main character should have been a black African who, for some reason, got close to the new leader of the country and was forced to witness all the madness and face Amin's sudden mood swings and chronic suspicion. It may not have been possible to completely ruin such a promising character as Amin, with long rows of corpses and countless crimes behind him, but Whitaker seized the opportunity and made the most of it, winning an Oscar. I wouldn't say it's his best performance on the big screen, but it is these socially critical roles that are awarded film prizes. Overall impression: 60%. (01.01.2012)

A decent film from an exotic setting with a young James McAvoy as a doctor and Forest Whitaker as a dictator in Kampala. I was expecting something grittier and more intense due to the theme and the harsh setting, but thankfully I didn't slip into boredom. Still, the film left me somewhat cold. 65% (16.11.2017)

When the best thing about a whole movie is the main character's shirt, something is wrong. To be fair, though, there are two scenes that make this nonsense is survivable: the initial disposal of Castle's family has a certain amount of impact, and the fight with the Russian muscle-head to the accompaniment of an operatic aria, which is not without its comic exaggeration. The rest, full of ridiculous, pathetic poses, does not do credit to the creators, nor to the fluffy and dynamic comic book premise itself. Although I think Travolta shouldn't climb in front of the camera anymore, here he was mysteriously tolerable, while the mediocre Thomas Jane might not need a Shakespearean training for such a role, but I resisted the onslaught of my diaphragm every time I saw his badass face. But during the scene when the elevator goes up and there's Thomas turning on it, with a taut body under his tattered tank top and a harsh look on his face, I burst out laughing, I really couldn't help it :) (06.07.2007)