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It throws around jokes that are not new, really.
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It wants to continue where the predecessors left off, but not really.
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The movie wants to establish the situation, but not really. Maybe this is why the first half-hour of the movie also seemed a bit like not having a clear purpose at all. Overall I just felt like the two movies never happened and we are seeing more or less the same thing again. The same thing goes for the jokes, which are very similar to the two previous movies, too similar even. In general the movie seems to re-establish many things for viewers who have not seen the first two movies. This movie reboots the whole thing by making our guy dislike the children at first, only to let him warm up throughout the movie once more. In the first two movies, the main protagonist (the ex-con teacher) gradually opened up to the children, became friendlier, and started to care for them. To me it seemed like the movie does not really know what it wants to do. Now the third movie's setting is back where it all started: at school. The second movie played in an entirely different environment which added a few new elements to the story. The first movie was surprisingly good and not as expected. The film was a pioneering Netflix global acquisition from Germany.This is the third part of a trilogy and as such the novelty of the scenario is fading. Based on the book of the same title, it sold 2.4 million tickets in Germany, for an around-$21.7 million gross, ranking No.
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release.Ĭonstantin also produced and distributed David Wnendt’s comedy “Look Who’s Back,” which has Adolf Hitler waking up in modern Germany and finally scoring a slot on a TV show.
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Made on relatively small budgets by Hollywood standards, they can also be put out on wide release in markets like Germany whose P & A costs pale before those for a wide U.S. The movie turns teen comedy conventions on their head, Shoemann told Variety earlier this year: “Our premise was: What would happen if the teachers are the ones who are having problems becoming adults and taking on responsibility, rather than the teenagers?”ĭagtekin’s films are also dramatic examples of the growing number of local comedic blockbusters that increasingly outgross Hollywood comedies around the world. That could be a hint that he already has an idea of at least the first of the titles in the output deal.Ī revival of Germany’s high-school comedy, once a film staple in the country, “Shakespeer” stars M’Barek as an ex-con who can hardly spell but takes on a job as a teacher just to recover the loot from a heist that is buried at the school.
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“Constantin Film is the best possible professional home that you can wish for as a filmmaker,” Dagtekin added, saying he was looking forward to new projects with Moszkowicz Constantin’s Torsten Koch Constantin’s Lena Schoemann, producer of “Turkish” and “Shakespeer” and Elyas M’Barek, star of all three of his films. We are very proud to be able to work with Bora for the coming years,” said Martin Moszkowicz, Constantin Film exec board chairman. More than anybody else, he combines zeitgeist, innovation and quality and success. “Bora Dagtekin is an exceptional artist within the German filmmaking community.