Todeshochzeit - Niemand sollte alleine sterben

I would say I like dramatic thrillers a lot - particularly when events are happening in a real life, not in someone's head. If a confrontation arises between main personalities, it provides additional value to the film. In Mørke, the respective atmosphere and preconditions are capably created, but the main opposition is not equal: Jacob (vigorously performed by Nicolaj Lie Kaas, at least 1 additional point from me due to him) is much stronger and versatile character than "soft" Anker (Nicolas Bro) and the reasons for the latter's actions could have been different than appeared in the end (with a decent twist, however). Or perhaps I am more interested in materially motivated actions than spiritually.

The film is undoubtedly for you if uneasiness, gloom and doubts throughout the film are important and long moving scenes do not become boring.

So it's a case of "is he or isn't he a murderer". Totally predictable. There is some tension which is I guess is interesting but you know at the end that the protagonist, Jacob, is in for a rough time. When it gets to the point where he is being accused of Hanne's murder it's just stupid - Hanne was screaming so you must have killed her - accusation by the police. When Jacob could easily have stated that Hanne did not want to be saved - that was just irritating beyond belief and downright lazy on the writer's/director's part. Jacob, a journalist, supposedly intelligent goes alone to us to a suspected murders house not once, not twice, not three what about five times. What also has to wonder if the police officer is dodgy or not, but that was all a bit contrived as well. Would only passible acting , I would say that this is want to miss.

Mørke... Darkness... a movie consisting of, revolving around, set in and taking place in the cover of darkness. A movie about suicide close to you, made by probably the two most fitting people in Danish show business; Nikolaj Lie Kaas, whose mother committed suicide, and whose father drowned, in what may have been a suicide, and Jannik Johansen, whose sister committed suicide. This was a necessary film to make, for both of them. And us Danes need it too, because of the message it so beautifully communicates: we're not open enough about death. It's taboo. We don't talk about it... we just don't. And that's a mistake. As a character so perfectly says it in this film: "We don't talk about death. That's why it's so hard." The plot is brilliant. It makes sense and holds water(to some extent; it will be become clear to most viewers that Jannik Johansen chose dramatic effect over realism for some parts in the film). Also, it leaves room for Kaas' character to ponder, wonder and feel guilty. Without the internal conflict of Jakob, our main character, the film wouldn't be what it is. The pacing is absolutely perfect. I was never bored for a second. The acting is flawless. Nicolas Bro and Kaas are astounding. The characters are exceptionally well-written and credible. The dialog is great. Not one line seems contrived. It's put to great use, too; in one of the first scenes, Jakob's relationship with his sister and their mother, not to mention their(or is that... our?) relationship with death. Johansen also does a great job of underplaying cinematic effects... several scenes end with an unpleasant twist that adds something entirely new to the whole scene. The whole film through, we're delved into the mystery, not knowing who to trust, or what to think. We feel Jakob's powerlessness, his panic, and his guilt. We follow his travel into his own darkness as he unravels the truth. There are several scenes of high intensity, incredible tension and great suspense. Johansen has a tendency to draw out scenes that are in actuality quite short, and with great effect. This is, in my opinion, the greatest accomplishment in Danish cinema. I recommend this film to any fan of Danish films, thrillers and/or dramas. If you think you can take it(it's definitely not for the faint of heart), you should give it a chance. There's a big chance you'll find it every bit as deep, strong and emotionally involving as I did. 10/10

I watched this movie on late night TV because Nikolaj Lie Kaas headed the cast; he is always astounding, and gives such rounded, often so-believable-it's-painful, performances. Then on to the screen walked Nicolas Bro (as Anker, the serial wedder) and I knew this would be a film worth staying up late for. Bro can walk that fine line between comfortingly believable nice guy and crazy nut job, so that one is forever questioning judgements formed about his character's true motives. His physical size alone is at once both reassuring and threatening.

There are layers to this excellent, but dark story which are still emerging for me. Kaas' character is drawn into a search for how his beloved sister, disabled from an earlier suicide attempt, could have suicided on her wedding night to the (decidedly creepy) Anker. So many times I wanted to scream at Kaas 'Go home - you really don't want to be going there!!' as he relentlessly pursued the truth about his sister's death.

I was always aware that Nikolaj Lie Kaas' parents had each suicided, and so this film would have been a necessary, and perhaps cathartic experience for him. I hadn't known that the Danes were a death-denying country, but perhaps this is a feature of all Western countries, as we go about kidding ourselves that we're happy, and that we'll surely live forever! Death and death-denial are favourite subjects of mine, so this film spoke to me at a deeper level than it may for other viewers.

Don't let the subject matter put you off. This is a truly remarkable film, and is worth seeing, just for the performances alone.

I like psychological thrillers...Danish films are good at that. Movie to think about and dwell on tomorrow...and then let it go.