Featured Audience Ratings

• Daniel M

  
  In the aftermath of Stieg Larsson's Millennium trilogy, there has been an explosion of interest in Scandinavian thrillers and crime dramas. The popularity of Borgen, Wallander and The Killing (amongst others) has also led to a number of English-language adaptations, with Kenneth… More
  In the aftermath of Stieg Larsson's Millennium trilogy, there has been an explosion of interest in Scandinavian thrillers and crime dramas. The popularity of Borgen, Wallander and The Killing (amongst others) has also led to a number of English-language adaptations, with Kenneth Branagh starring in the acclaimed remake of Wallander and David Fincher helming his own version of The Girl with the Dragon Tattoo. As with all trends, however, it doesn't take long for the cutting-edge to become a cliché. The fact that Midsummer Murders is one of the most popular programmes in Denmark suggests that the popularity of Scandinavian crime stories lies more in a fascination with cultural differences than any inherent difference in quality. Words like 'bleak' and 'gritty' have become redundant descriptors for these stories, and for all their merits, their general pervasion leaves you crying out for something different. All of which brings us to Headhunters, a great little thriller which takes the gritty, stylish aesthetic of these stories and douses it with a lot of dark humour. Purely from a technical standpoint, Headhunters is one of the most breathless and efficient thrillers in the post-Bourne era. Its first half hour in particular is frenetic, with its need to set up all the plot points trumped by its greater need to keep the story and action barrelling along at a break-neck pace. But unlike the many Bourne imitators, who have misinterpreted and misused Paul Greengrass' aesthetic, the film is not needlessly flashy in its shooting style. There is some hand-held stuff during the scenes in the woods, but otherwise there are plenty of tripods to go round. Because of this breathlessness, Headhunters avoids one of the big traps of the crime thriller genre - namely the belief that a bleak, forbidding atmosphere can only be achieved by slow pacing. The film does slow down at certain points, allowing the more intimate moments to breathe and to increase the tension during the near-misses in the chase. But Tyldum Mortem is careful never to let these scenes drag or otherwise interfere with the fun. This steady hand works in the film's favour in the opposite way: it gives off such a level of confidence that we don't ever get the sense that it would all fall apart if it did slow down. The film also boasts great cinematography, courtesy of John Andreas Andersen. The opening section is incredibly stylish, with a crisp, glossy feel akin to The Social Network or the thrillers of Michael Mann. As the various plot points develop, Anderson matches the darker comedy with harsher and nastier tones, turning the colour palette right down and lightening the blood in a realistic manner. What little special effects there are in the film are also effective thanks to Andersen's work; we know full well that a real dog wasn't killed in the film, but it looks so real that you do stop and wonder, if only for a second. On top of any visual similarities, the plot of Headhunters knowingly tips its hat to a number of other thrillers. There is a close comparison to the Coen Brothers' debut Blood Simple; both have a ruthless efficiency and are characterised by a balance of dark humour and dramatic tension. Making the main character an art thief immediately calls to mind The Thomas Crown Affair, though the film is tonally closer to the John McTiernan remake than the original. The truck sequence is arguably an elaborate reference to Steven Spielberg's Duel, and the scenes in the hospital are highly reminiscent of The Fugitive. It's perfectly possible to enjoy Headhunters as a well-oiled machine, an efficient genre exercise. It is ultimately a film concerned more with pacing than with substance or insight, with the need to keep things moving occasionally working against its attempts at emotional depth. But it also has a few ideas of its own which set it apart from many of the films it is referencing or taking after. As clichéd as it is to describe it in such a manner, it is more introspective and self-aware than many British or other English-language thrillers borne from similar material. One of the film's main themes is reputation. Roger Brown is a man whose life is built around both his own personal reputation and the belief that reputation is the only thing that matters. He steals priceless works of art to fund his lifestyle and make his wife happy, ensuring that they can be seen at the right parties and own the house that everyone wants. His job involves making judgements on people based on others' opinions of them and concerns about the images of the companies he serves. His numerous misfortunes as the film goes on find him discovering that this frame of mind is deeply damaging: his desire for status is ultimately what leads to the affair and his life falling apart around him. The central conflict between Roger and Clas Greve furthers this theme, and asks a supplementary question about the importance of empathy over ambition. In their final showdown in Ove's house, Clas appears to have the upper hand. He stands lean and elegant against the shrinking, pathetic Roger, and ridicules him for lacking the power and will to keep the things he wanted. Roger then trumps him with the reveal about the bullets, signifying his motives were the better ones. He chose the love of his wife over the satisfaction of the deal, and after hours of running, he finally defeats his opponent. Like many thrillers, Headhunters plays with the idea of deceitful appearances. Clas starts off as a distinctive client of Roger's, smartly dressed, straight to the point and a worthy opponent at the dinner table. He then becomes a ruthless soldier and hunter, then a soldier at the centre of a murky corporate deal, and finally a thrill-seeking killer comprising all of the above. On paper it all sounds fanciful, but Tyldum's direction holds the character and conceit together. Every time you think you can't go with a plot point, he pulls back and concentrates on making Clas threatening, thereby ensuring that we take him seriously even if we don't entirely understand him. As I said before, Headhunters is more concerned with pacing than with substance. It doesn't contain any great insights into the world of art crime, or make any point like Killing Them Softly about how crime and big business are essentially built on identical foundations. But in spite of this it is supremely entertaining, possessing not just a good amount of pure spectacle (e.g. the truck scene) but also a number of rounded, believable characters underscored by excellent levels of tension. Being a dark comedy, our empathy for Roger comes as much from wanting him to succeed as it does from a degree of pity for what happens to him. Aksel Hennie has the same distressed, worldly-worn look that Steve Buscemi has in Fargo, and Tyldum truly puts his character through the mill, forcing him to lug bodies around, sit on poisonous spikes, shave his head in a stream and even hide in human faeces to evade Clas early in the chase. The dark humour also extends to the supporting characters, with Ove's 'shootouts' with his favourite hooker and the recurring appearance of the two fat policemen. The secret of Headhunters' success, as both a black comedy and a tense thriller, is its constant capacity to surprise us. Tyldum is brilliant at taking a comedic moment and turning it into a source of great tension - we go from watching Roger sink slowly into the latrine to Clas staring down at the toilet roll through which (unbeknownst to him) Roger is breathing. He also perfects this in reverse: we see Roger being followed by what he thinks is Clas' car, and he careers off the road, only to find that it was a tractor all along. Headhunters is a brilliant darkly comic thriller which breathes new life into a sub-genre which is threatened with becoming stale. While it has a few silly or potentially ludicrous moments, it embraces its pulpy origins and uses audience familiarity to make its surprises stand out all the more. Morten Tyldum directs beautifully, with the perfect balance of terror and humour coming through with the efforts of a great cast. Above all it's a supremely entertaining piece of cinema which gives the Coen Brothers a run for their money.

• Jason R

  
  Not quite the Thomas Crown Affair, but definitely a well-made, fast-paced thriller.

• Cynthia S

  
  These suspenseful, intrigue, twist and turn movies aren't really my cup of tea. This one included..even though I recognize that it was a well done film, contained some really good actors, and had some rather interesting scenes. I do have my exceptions to the rule (for example the… More
  These suspenseful, intrigue, twist and turn movies aren't really my cup of tea. This one included..even though I recognize that it was a well done film, contained some really good actors, and had some rather interesting scenes. I do have my exceptions to the rule (for example the Jason Bourne movies), but apparently this one didn't fit into that category...

• Luke B

  
  Headhunters is a film I was sure was going to be a cool Scandinavian hesit flick. I was so wrong, as this was just so much more. Hennie is fantastic as Roger Brown, a headhunter who uses interviews to obtain information on valuable art which he then intends to steal. He soon comes… More
  Headhunters is a film I was sure was going to be a cool Scandinavian hesit flick. I was so wrong, as this was just so much more. Hennie is fantastic as Roger Brown, a headhunter who uses interviews to obtain information on valuable art which he then intends to steal. He soon comes across Coster-Waldau as Greve, a man with a very rare painting. Just when Brown thinks it's going to be an easy steal things become more and more complicated, until Brown is running for his life in some of the most madcap and insane ways imaginable. Headhunters works thanks to the unpredictability of the narrative. Sure, you could probably guess quite a few of the twists and turns, but not exactly how they turn out. Tyldum (a director to watch), uses extreme moments of violence to shock you in scenes that take cartoonish action to new (often grotesque) heights. The editing is brilliant, never losing track of what is transpiring on screen, and there is even a lot of emotional weight given to Brown and the relationship he has with his wife. An enjoyable thriller that hints at a lot more to come from everyone involved.

• Anthony L

  
  Headhunters proves that it's not all about the big budget, it's the story that counts. The performances are also good but what makes Headhunters so good is its unpredictability. You may think you know what is going to happen but 20 minutes in and it all goes out the window,… More
  Headhunters proves that it's not all about the big budget, it's the story that counts. The performances are also good but what makes Headhunters so good is its unpredictability. You may think you know what is going to happen but 20 minutes in and it all goes out the window, and the twists and turns to let up until the end credits role down. It is everything a good thriller should be.

• Kevin C

  
  It's a lot of ingenious, insane ideas loosely tied together by an "okay, so I guess this is happening now" narrative ribbon.

• Alexander D

  
  The term "action thriller" has deteriorated ever so nastily from what it meant decades ago. Back in the twentieth century, the genre was laudable for its intoxicating ability to mold suspense with grit. Nowadays, good ol' Hollywood has taken charge of the genre, and… More
  The term "action thriller" has deteriorated ever so nastily from what it meant decades ago. Back in the twentieth century, the genre was laudable for its intoxicating ability to mold suspense with grit. Nowadays, good ol' Hollywood has taken charge of the genre, and withered it down to nothing but a pile of special effects and corny jokes, only enjoyable with a few buckets of popcorn handy. Although Headhunters would have still been a stunning cell from the mind of a genius back in the late '70s or early '80s, it's manna from heaven during this era. The film is Norwegian, but who's to say that Norway doesn't know how to bring us back to the time when "edge-of-your-seat thrills" were self-explanatory?

• Al S

  
  A slick and wickedly entertaining edge of your seat thriller, it`s exciting and constantly surprising and will trick you every step of the way. A spectacular thrill-ride that pulls you in like you wouldnt believe. It`s tense, taunt and loaded with riveting drama and explosive action.… More
  A slick and wickedly entertaining edge of your seat thriller, it`s exciting and constantly surprising and will trick you every step of the way. A spectacular thrill-ride that pulls you in like you wouldnt believe. It`s tense, taunt and loaded with riveting drama and explosive action. One of the coolest, sharpest and most stylish crime films of the year. An energetic and full-throttle cat and mouse game with all the great elements of a heist movie that has plenty of hard-boiled twist and turns. It will blow you away with its plot, style and witt. A stunningly well-done film. Director, Morten Tyldum crafts a superb masterwork. The characters are complex and compelling and well performend by the cast. Askell Hennine is electrifying. Nikolaj Coster-Waldau is brilliant. The two leads work well with one another and square off nicely. A bold. bloody and frighteningly great roller-coaster ride of a suspense thriller. An utterly thrilling and wickedly fun adrenaline-rush. A tremendously cool and truly satisfying crowd pleaser.

• Greg S

  
  An art thief who uses his position as a corporate headhunter as his cover thinks he's struck a gold mine when he meets a CEO who's perfect for the job he's shopping, and who also happens to own an original Rubens---unfortunately for him, a murder complicates his big… More
  An art thief who uses his position as a corporate headhunter as his cover thinks he's struck a gold mine when he meets a CEO who's perfect for the job he's shopping, and who also happens to own an original Rubens---unfortunately for him, a murder complicates his big score and sends him on the run. Hollywood thrillers could learn a thing or two about implausible plot twists from this crazy but crowd-pleasing Norwegian thriller with dashes of black comedy.

• Mark H

  
  What makes Headhunters so ridiculously engaging is how the narrative develops in a way that you cannot guess the outcome. That's precisely the fun. Like classic suspense of the past, this has the kinds of twists and turns that would make Hitchcock proud. There's one surprise… More
  What makes Headhunters so ridiculously engaging is how the narrative develops in a way that you cannot guess the outcome. That's precisely the fun. Like classic suspense of the past, this has the kinds of twists and turns that would make Hitchcock proud. There's one surprise after another and the developments are innovative in that way. However I can attest, Headhunters is very much an example of modern storytelling that resembles something by Quentin Tarantino or the Coen brothers. It's bloody and raw. Think Pulp Fiction or Fargo. If you think those are lofty comparisons, you haven't seen this movie. Yet there's a humanism present that sets this apart from those classics and makes this distinctly different. These are people with insecurities and weaknesses that are altogether apparent. In between the action, there is a declaration of love that's incredibly touching. They still long to be loved. The violence never seems gratuitous, only necessary to emphasize the absolute nightmare of which Roger becomes a part. It's a drama that starts slowly but as the tale unfolds it seizes the viewer with brute force. It's pretty over the top. There's a depiction of an auto accident where I literally forgot to breathe for 60 seconds. But that's the standard set piece prevalent here and that's what makes this thriller so exhilarating.

• Mark W

  
  Do you ever tire of hearing that a Hollywood remake is in the pipeline, when the ink has hardly dried on the original script? Like "The Girl With The Dragon Tattoo", "Cell 211" and "Let The Right One In" before it, this is another that has had the green… More
  Do you ever tire of hearing that a Hollywood remake is in the pipeline, when the ink has hardly dried on the original script? Like "The Girl With The Dragon Tattoo", "Cell 211" and "Let The Right One In" before it, this is another that has had the green light for an English language version. It's easy to see why there would be interest in this as it's an exceptionally good thriller. I just don't see why it's necessary to have it redone. Roger Brown (Aksel Hennie) is a high-flying businessman who works as a headhunter. He scouts potential applicants for executive jobs. While interviewing them, he learns very useful information that leads him to his second source of income: a sideline in executing valuable art robberies. His extravagant and expensive lifestyle can't be funded by his headhunting job alone. One particular interviewee is Clas Greve (Nicolaj Coster-Waldau). He has all the credentials for a post that Brown needs to fill but he also has just inherited a piece of art that will cure all of Brown's financial woes - if he can just get his hands on it. As it turns out though, this art theft is not as simple as his previous ones and Greve is not as buttoned up as he makes out. As this film opens we are introduced to unlikely leading actor Aksel Hennie who has an appearance that resembles the love child of Christopher Walken and Steve Buscemi. He's not your average leading man and his character is not that appealing either. He's a self-centred weasel of a man that seems to lack any morals but you know that things are, not entirely, going to go to plan for this scheming, double-crossing thief and that's exactly what captures your attention and provides the hook in this adaptation of Norwegian writer Jo Nesbo's novel. Director Morten Tyldum is wise enough to play his cards when he needs them and wrings out the suspense, masterfully, at every turn. He mounts the tension slowly before staging one gripping scene after another. The unpredictability of the spiralling plot delivers genuine excitement, helped immeasurably by natural characters and performers. Hennie in particular, is absolutely brilliant and will no doubt become a household name after this (apparently he already is, in his native Norway). Kudos to screenwriters Lars Gudmstead and Ulf Ryberg. It's their tight, deliberately paced and unpredictable script that keeps you guessing and shows a good level of intelligence. Admittedly, I haven't read the novel but if I were author Jo Nesbo, I'd be very proud of the job that has been done here. When the headhunter becomes the headhunted, this film grips like a vice and refuses to let go. I've seen quite a few film's from Scandinavia over recent years and have been very impressed with the high standard they are delivering. This is no exception and a thriller that will definitely compete with the best of the year.

• Lorenzo v

  
  <i>"Believe me, Roger. You've never seen anything like this in a film."</i> An accomplished headhunter risks everything to obtain a valuable painting owned by a former mercenary. <center><font size=+2 face="Century… More
  <i>"Believe me, Roger. You've never seen anything like this in a film."</i> An accomplished headhunter risks everything to obtain a valuable painting owned by a former mercenary. <center><font size=+2 face="Century Schoolbook"><b><u>REVIEW</u></b></font></center> With the success of the likes of The Girl with the Dragon Tattoo, Borgen and The Killing in recent years, it was only a matter of time before a Jo Nesbo novel was adapted for the big screen. This film captures the tone and style of Nesbo which will delight his hordes of fans. I wouldn't be surprised to see his Harry Hole series adapted in the near future. The film is a true thriller which had me on the edge of my seat. The first half is mostly a tense heist type of story with the second half being mostly one huge chase with a few rest bites thrown in to give those sweaty palms a break. The story is complex and interesting and made the film feel longer to me that it actually was. This isn't a bad way however and I'd happily have watched for another half an hour. The film and its lead character are very clever and this should excite the audience and leave them thoroughly satisfied. The acting from Hennie is superb. He shows great depth and cunning as well as despair and heartbreak. It's a career performance from him. Nikolaj Coster-Waldau, best known as Jamie Lanninster from Game of Thrones to English speaking audiences is also excellent opposite Hennie. The two have a real duel in terms of the action and the acting. Coaster-Waldau is impossibly cool and suits his role to a tee. Every main character is given a fair amount of back story which really helps to give them their identity and drive. Unsurprisingly a Hollywood remake is already in the works but I'd recommend seeing the original as I can't see how having Ryan Reynolds and Kiefer Sutherland or someone similar will improve the film. It's just an excuse for lazy people not to have to read and for Hollywood studios to make money without doing anything original. This film is smart, witty and original and even has a love story at its centre. I can't recommend it highly enough.

• c0up  

  
  'Headhunters'. Changes tone majestically between precision caper, bumbling, dark humour, and love story.

• Walter M

  
  In "Headhunters," Roger Brown(Aksel Hennie) is a corporate recruiter who stands just 1.68 meters tall.(For my fellow Americans, this is about 5'6.") Due to feelings about his height, he overcompensates by marring a blonde goddess named Diana(Synnove Macody Lund)… More
  In "Headhunters," Roger Brown(Aksel Hennie) is a corporate recruiter who stands just 1.68 meters tall.(For my fellow Americans, this is about 5'6.") Due to feelings about his height, he overcompensates by marring a blonde goddess named Diana(Synnove Macody Lund) who is just about to open an art gallery and would like to have children one day. Even then, Roger carries on with Lotte(Julie Olgaard). In order to support his lush lifestyle, he goes far beyond just getting a third mortgage by becoming an art thief, using inside knowledge, with his confederate Ove(Eivind Sander), a security guard, who uses his share of the loot to support Russian prostitution. But that is still not enough for Roger, until Clas Greve(Nikolaj Coster-Waldau) comes to town with a long missing work of art in his possession that is worth millions. Finally, with "Headhunters," we get a Scandinavian thriller that was not written by somebody in desperate need of anti-depressants. Even if I am generalizing, this is still definitely a twisty, sexy, and violent movie without a wasted detail. In short, it confirms something I have always suspected and shows how people can surprise you, with just the right amount of heart. Yes, the movie definitely can be more than highly improbable at times while it may be hard for some people to care about such a self-involved jackass. There is also the question about whether the movie deserves its ending but I'll be happy to look the other way with something as entertaining as this.

• Richard B

  
  Little Big Man Jo Nesbo, the latest Scandinavian thriller writer, lifted the spirit of Fargo and Harlan Coben in his thriller Headhunters, now adapted into this superior Norwegian (!) film version. Roger Brown (where did he get such an English name?) is the small, successful,… More
  Little Big Man Jo Nesbo, the latest Scandinavian thriller writer, lifted the spirit of Fargo and Harlan Coben in his thriller Headhunters, now adapted into this superior Norwegian (!) film version. Roger Brown (where did he get such an English name?) is the small, successful, scheming headhunter who also doubles as an art thief.Brown lives over his head, has his gorgeous wife who towers over him, and a mop of ridiculous 1980's hair - so he's got to be head and shoulders above any other scalper. 'OK then,' as the Coen Brothers might say, but when he takes on the task of stealing from the hottest new prospect in town (who also owns a priceless painting he must steal), Brown's world starts to fall apart. The wonderful Nikolaj Coster-Waldau (of Game of Thrones fame)who plays the prospect, turns out to be a sexy killer. Roger (Aksel Hennie, brilliant) has to run for his life. His whole life falls to pieces - his partner killed, his wife seduced, even his precious hair is sacrificed. Brown battles against his new and altogether superior, antagonist. Surviving the initial onslaught, the little big man plots his revenge and triumphs over his adversary in a hugely entertaining conclusion. The only thing the film lacks is a heart. All of the protagonists are so deeply flawed, it is difficult to like anyone or believe anything. Though it is brilliantly tied up with some true romance, the fact is, when Roger triumphs, he barely changes from the wicked shit shown in the opening reel. Yes, he does give his now happy wife a baby, gets out of the art thief market, but still, goes back to the world of the headhunter with glee. Maybe this is a small price to pay for such a supremely entertaining thriller. Next year, the inferior US re-make awaits. See the original, dark and chilly as it is.

• The Movie W

  
  Tyldum puts Hollywood blockbusters to shame with this blisteringly paced Norwegian Hitchcock homage, Nordic by Northwest if you will. Over the years we've had plenty of movie villains with a Napoleon complex but this could be the first instance of a hero who suffers from small… More
  Tyldum puts Hollywood blockbusters to shame with this blisteringly paced Norwegian Hitchcock homage, Nordic by Northwest if you will. Over the years we've had plenty of movie villains with a Napoleon complex but this could be the first instance of a hero who suffers from small man's syndrome. Hennie is excellent as a corporate headhunter obsessed by the fear of his amazonian wife leaving him for a taller man. Convinced that she only sticks around for his money he moonlights as an art thief with the help of security technician Sander. When he learns that his latest client ("Game Of Thrones" star Coster-Waldau) has an incredibly rare painting in his apartment he steals it and sets off a crazy chain of events. Hitchcock has to be the most imitated of directors but it's rare that film-makers really capture the essence of his style. It's largely forgotten how much comedy his movies contained but this film is very much in the spirit of his lighter adventure romps, specifically "To Catch A Thief", "Saboteur" and "North By Northwest". There are several nods to the latter film; the protagonist is named Roger, he lives in a house identical to James Mason's clifftop villa, and there's an echo of the crop-duster scene, this time involving a truck. The three main characters are classic Hitch archetypes, the paranoid man on the run, the ice cool blonde who may or may not be trustworthy, and the suave villain. The final hour is practically an extended chase sequence, directed with the swagger of a Hollywood veteran. There are laughs, there are shocks, there are moments of absolute depravity, and some of the most comical gore since "Evil Dead 2". Every time you think Tyldum is throwing something at you gratuitously it turns out to be integral to the plot. At one point I groaned when a set of overweight twin cops showed up, being the sort of quirkiness that turns me off the Coen brothers, but in the following scene you realise exactly why Tyldum made them so obese and it's a brilliant moment of twisted comedy. It staggers me to think a movie this broad in scope came out of a country of just five million people. I live in Ireland which has a similar population and there is no way we could ever produce something this accomplished. It's rumoured Tyldum is to direct an American remake of this, a shame really as I'm curious to see what else he has up his sleeve.

• John B

  
  One of the most hyped foreign films of the year lives up to all the expectations. Fabulous action and suspense with underlying humour makes this a winner.

• Joey S

  
  A fantastic Norwegian thriller, Headhunters is slick, well-written, unique, and very skillfully made in general. The plot is very unpredictable, managing to surprise at nearly every point, and the protagonist has a strong character arc. The action is intense and the movie is tons of… More
  A fantastic Norwegian thriller, Headhunters is slick, well-written, unique, and very skillfully made in general. The plot is very unpredictable, managing to surprise at nearly every point, and the protagonist has a strong character arc. The action is intense and the movie is tons of fun to watch because it manages to thrill while being incredibly smart and careful about not leaving any plot holes. It even has a pretty great sense of humor at times, although the comedy is very dark so it could just as easily fly over your head. As a whole, Headhunters is a genuinely great, intelligent thriller and a movie of this caliber deserves to be seen by more people.

• Lane Z

  
  Big fan of the product that comes out of Norway in the movie industry. The original Girl with the Dragon Tattoo and Let Me In are great ones off the top of my head. Headhunters features mysterious writing and storytelling with a twisted plot. There's plenty of dark humor in… More
  Big fan of the product that comes out of Norway in the movie industry. The original Girl with the Dragon Tattoo and Let Me In are great ones off the top of my head. Headhunters features mysterious writing and storytelling with a twisted plot. There's plenty of dark humor in this movie that could also be titled "The Worst Day for Aksel Hennie". It's quite a different take on the theft/thriller model most of Hollywood follows. The ending is pleasing, and the acting is top notch. Subtitles with the film don't necessarily match up the whole time or make sense at certain points and a few character relationships aren't fleshed out enough to make total sense but it all works for a certifiably grisly movie.

• Nicolas K

  
  A Scandinavian shade of dark carefully panned thriller, with a number of ever escalating and unimaginable twists and turns, keeps audiences on the edge of their seats. Unless you are averse to films with subtitles, watch it before you are faced with the dilemma of choosing the… More
  A Scandinavian shade of dark carefully panned thriller, with a number of ever escalating and unimaginable twists and turns, keeps audiences on the edge of their seats. Unless you are averse to films with subtitles, watch it before you are faced with the dilemma of choosing the unavoidable glossy Hollywood remake.

Read all 20 featured audience ratings