From Denmark, this morally complex drama is urgent and provocative even if the story is full of lapses that make it feel oddly implausible. It's a reteaming of director Susanne Bier and screenwriter Anders Thomas Jensen, whose breakout 2004 film Brothers (remade in 2009 with Jake Gyllenhaal and Tobey Maguire) had similar problems: a high-concept premise that makes the dilemma more important than plot coherence.
Game of Thrones star Nikolaj Coster-Waldau returns home to Denmark to star in the film. He plays Andreas, a detective who is horrified when he and his partner Simon (Ulrich Thomsen) find badly neglected infant Sofus in the home of lowlife ex-con Tristan (Nikolaj Lie Kaas) and his junkie girlfriend Sanne (Lykke May Anderson). But there's no legal way to remove the baby from his parents. This hits Andreas especially hard since his son Alexander is the same age and his wife Anna (Maria Bonnevie) is struggling emotionally with motherhood. Then Alexander dies unexpectedly and Andreas hatches a plan: he swaps the dead Alexander for the abused Sofus. Obviously both of the mothers notice this immediately, but Anna accepts it and no one will listen to Sanne's outcry. And Tristan is preoccupied with trying to cover up what he thinks is his son's death.
Bier and Jensen work diligently to set up this premise, with details that try to address each aspect of the story, but it simply never holds water. For example, we never believe that Andreas' action is something any caring husband would do, especially one who works for the police. Or that Anna and Simon would go along with it. So as the story becomes increasingly entangled, everything begins to feel like it's heading for the only conclusion possible. Thankfully, Bier and Jensen are skilled enough to make all of this compelling, challenging the audience to confront each decision the characters make and consider the moral repercussions of everything they do.
Continue reading: A Second Chance Review
Despite a superior cast and terrific-looking production values, this mystery romp is a misfire on every level. The only vaguely entertaining moments come in some snappy wordplay that's presumably all that remains of Kyril Bonfiglioli's beloved novel Don't Point That Thing at Me. Otherwise, the film feels clumsy and outdated, and even Johnny Depp's quirky schtick seems halfhearted. So even though it looks great and elicits a few giggles, it's such a mess that it's hard to imagine why anyone got involved.
Depp plays Lord Charlie Mortdecai, an art expert whose immaculately kept manor house is at risk of foreclosure due to unpaid taxes. So he leaps at the finder's fee when his old pal MI5 Inspector Martland (Ewan McGregor) asks him to investigate a murder linked to a missing Goya painting. The problem is that Martland still holds a torch for Charlie's wife Joanna (Gwyneth Paltrow), a brainy bombshell who launches her own investigation into the case. With his trusty manservant Jock (Paul Bettany) by his side, Charlie is taken to Moscow and Los Angeles in search of the Goya. And it all boils over in a chaotic encounter with a smirking art collector (Jeff Goldblum), his man-crazy daughter (Olivia Munn) and a sneaky killer (Jonny Pasvolsky).
Despite quite a lot of adult-aimed innuendo and violence, director David Koepp (Premium Rush) shoots the movie as if it's a hyperactive kiddie flick, all bright colours and shameless over-acting, with whooshing digitally animated transitions and a series of awkwardly staged car chases. None of this is remotely amusing. Even the constant double entendres are painfully overplayed, while the cartoonish Received Pronunciation accents put on by Depp, Paltrow and McGregor are more distracting than humorous. All of this leaves the characters impossible to engage with on any level; they aren't funny, endearing or even interesting.
Continue reading: Mortdecai Review