Flaskepost fra P
Flaskepost fra P
Ohjaus:
Hans Petter MolandKäsikirjoitus:
Nikolaj ArcelKuvaus:
John Andreas AndersenSävellys:
Nicklas SchmidtNäyttelijät:
Nikolaj Lie Kaas, Fares Fares, Pål Sverre Hagen, Jacob Lohmann, Amanda Collin, Johanne Louise Schmidt, Jakob Oftebro, Signe Mannov, Søren Pilmark (lisää)Suoratoistopalvelut (3)
Juonikuvaukset(1)
A desperate message in a bottle, written in blood by a boy being held captive, is received eight years after it was sent. It leads renegade cold case detectives Carl Mørck (Nikolaj Lie Kaas) and Assad (Fares Fares) to a shadowy religious community connected with a string of missing and murdered children - including two whose lives hang in the balance. The latest film in the gripping Department Q series - which have shattered box office records abroad - is another taut, tightly crafted whodunit steeped in chilling Gothic atmosphere. (IFC Films)
(lisää)Videot (4)
Arvostelut (6)
Moland finally directed a film out of it and not an expensive pilot of a series. Black humor was added, which it lacked a lot. Unfortunately, in an attempt to remove a rather procedural model of twists and conflicts, he turned the second half of the film into a slightly absurd and illogical spectacle. The discomfort is further enhanced by the performance of Pål Sverre Hagen, whose monster is a rather awkward mixture of pederast and the square root of Javier Bardem.
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The third installment of Olsen’s series has the best film adaptation so far. I tried to watch the film as if I hadn't read the book. I enjoyed a quality crime thriller set in a community of religious fanatics with a grim atmosphere and a convincing villain. Nikolaj Lie Kaas as Detective Morck was absolutely brilliant. His rendition of a man whose life treats him like shit every single day was simply perfect. Even though I knew how the film was going to end from the book, I got a proper dose of suspense. I'm looking forward to Journal 64.
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I intentionally watch the movie adaptations of Jussie Adler-Olsen’s novels on TV. There are so many Scandinavian crime movies that it is quite nice to make things easier with some movie series. And with this one, I always had to get used to the main characters in the beginning, so that I could really enjoy the story afterward. But here, it is a little more complicated. Here, Carl Mørck actually looks as if he had a pineapple up his ass during the whole movie and he drops a solid piece of wisdom at the end of the whole film. Assad at least expresses a few emotions and his character salvages a lot. Fortunately, the movie has a very decent atmosphere and an absolutely ultimate psychopath in the form of Pål Sverre Hagen so you can be sure that each of you will find certain moments interesting. But overall, I was disappointed. I put the movie on about 5 times and I truly finished it only on my 5th try. I don’t know a beginning of a Scandinavian crime movie more lukewarm than this one.
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The routine and unsurprising first half suddenly changed into something more brutal, suspenseful and dark, which is
very satisfying. The villain is decent, like a weaker Edward Norton, but he cannot hold a candle to the beastly duo from
the second part. The third part doesn’t match the complexity of the second (The Absent One) or the overall quality of
the first (The Keeper of Lost Causes), but it remains a well-crafted genre film.
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A Conspiracy of Faith is a film of two completely different parts. I don't know if they are equally long, because subjectively the exposition of the story seemed too slow and about as exciting and captivating as a Christian documentary. The movie theater screen should help the film, but somehow I hesitated and thought that a television screen would be more than enough for this. But then came the scene where the ransom for the kidnapped siblings is supposed to be handed over on the train, and suddenly it looks as if a cyclist staggering somewhere at the tail end of the peloton realizes that he doesn't want to stay last and gives it his all. The dynamics change incredibly and suddenly you understand what the magic and global success of Scandinavian crime is all about. You have a jam-packed spectacle that does not spare any blood or shocking twists, and it engulfs you completely. But when the end credits start, you begin to think and certain doubts arise about the errors in logic that you didn't notice before. It's somewhere between 3 and 4 stars, but in the case of such highly-rated films, I usually choose a lower rating. The acting is decent and the subject matter is also unconventional, but the mistakes are simply noticeable. Overall impression: 65%.
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