Fasandræberne

So when I saw the Keeper of Lost Causes, I was very impressed by what a griping Crime Drama it was and when I discovered it was the first in a trilogy, I had to see the others.

The Absent One is the second in the trilogy. Some time after Carl and his partner, Assad made Department Q a name for their first case, they quickly became a joke again due to Carl's focus on solving the cold cases rather than just organizing the place met they have not closed another cold case since. Then a retired sheriff begs Carl to look into the cold case involving the murder of his two children which someone took the blame for. This lead Carl to uncover the dangerous vices of the privilege of high society.

It's as gritty as the first movie, with a case that has slightly more depth and angles to it. This allows us to see the warm heart of Carl without melting the ice, as he gives his all to make right what once went wrong. The detective himself becomes more well rounded with just enough peaks into his personal life (a bonding relationship he has with his ex-wife's son, who he obviously sees as his flesh and blood), to make him human. The movie also introduces a new team member, Rose, the last of a long list of secretaries who don't work well with Carl, but luckily Assad likes her.

This is becoming a fabulous police drama franchise and I can't wait to complete the trilogy.

This is the second film installment that I am aware of in this detective drama, following on from "The Keeper of Lost Causes".

At first glance the translated title, "Killer of Pheasants", seems somewhat misleading. In fact, its well chosen. Pheasants demonstrate sexual dimorphism. That is the males are brightly coloured, whilst the females are plain. The wealthy male sexual predators at the heart of this tale, like male pheasants, appear to have everything. They lead bright, shining, seemingly flawless lives. By contrast, their female collaborator turned victim, suffers a bleak life of dispossession, but as we see she is, ultimately, a better human being.

Indeed, this story is, arguably, as much about dispossession, as it is a crime story. It speaks to the destructive power of inequality and how money not only does not remedy human flaws but can, in fact, amplify them.

Of course, its also a good crime thriller, with many subtle and often oblique, plot shifts. It takes time for all the intricate pieces of the crime puzzle to come together but when they do, its a very satisfying experience.

The acting is outstanding. Nikolaj Lie Kaas skillfully reprises his role as Carl Morck. A socially awkward, self destructive but nonetheless brilliant, driven detective. Fares Fares returns as his long suffering but understanding partner, Assad. The comfortable chemistry between these two lead actors makes this film easy viewing.

The other cast members, including the key villains of the piece, are well chosen and able actors who fit snugly into their respective roles.

For some people, possibly the only shortcoming, may be the sexual violence inherent in the film. If you are of a sensitive disposition you may want to give this film a pass. That said, if you are not perturbed by the violence or the subtitles, this film is a must see. Ten out of ten from me.

Good murder mystery noir from Denmark showing at NYC's IFC Center for just one week, and a picture that deserves more exposure than that. It is a tense detective story of a 'cold case', a double murder 20 years old taken up by Danish Detectives Morck and Assad. I am a great fan of top shelf detective films, and film noir in particular, and this one is surprisingly well done.

Nutshell; a brother and sister were murdered 20 years previous and the crimes were unsolved. Their father, a retired cop, approaches Morck and pleads with him to renew the case. Morck dusts him off, saying he is too busy. The father then turns up as a suicide, which leads Morck to regret his cavalier treatment of the father and decides to investigate. His subsequent investigation takes a sordid turn and becomes darker as the story unfolds.

There are three movies in the Det. Morck series, and I wish I could have stayed for all three. It is remarkably well done and bears all the hallmarks of Hollywood noir films. Morck is a no-nonsense detective who smokes and is hard-drinking and with a clear-headed assistant who tries to be a counter balance. Morck is moody and obsessive and will break the rules in the name of truth and justice, and the chemistry between the two is a tribute to their acting and to the screenplay. The movie scene needs more of this type of grown up fare as many of us have tired of the usual sequel to a dull film and of animated cartoon movies for 6 year olds. While Indies like this are produced perhaps there is still hope for a foundering art form.

Straight off the bat, one of thing that I love about this film, is that it's as much of a stand alone movie as the sequel to The Keeper of Lost Causes / Mercy. The two films are connected but they're about two completely separate cases on which only the investigating team remains. It's kind of like what a TV-Show like Sherlock, for example, if Sherlock was a graphic dark thriller.

Much like the first one, Detective Mørck & Assad are the heart of the movie. It's an odd pairing but they're somehow captivating, they keep you focused in the movie despite the less than original plot on this one. You probably already figured out what it's all about by reading the premise but the story works and It has to do with the investigating team. You get attached to them - more so if you've seen the first film - and you want to see this case through.

The sequel to The Keeper of Lost Causes / Mercy is a good film, with a predictable story, but it's intriguing, attention-grabbing, and so uninhibited that this classical, run of the mill, thriller feels very fresh. @wornoutspines

Everything I said in my review of the first film in the series (Keeper of the Lost Causes) applies to this, the second installment. Gritty, dark and disturbing. It is textured and believable with an intense verisimilitude as to not only the environment and behavior of the police but throughout the social strata where the other characters dwell. And, as in the earlier film, this one is as commendable for the attention to fleshing out the damaged creatures committing unspeakable acts as it is to developing the mechanics of the plot, the social themes underlying the series, and the growth (or collapse) of the lead players. And I cannot sing the praises high enough for a thriller, so realistic, that a main character gets struck in the head with a pipe, and rather that soldiering on like a superhero he falls, and then later collapses with a concussion. This series is about human beings; the weak and the strong, the good and the bad, and such simplistic terms like Hero and Evil Villain are neither welcomed nor adhered to.