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the piece who defines the movie is the profound humanity. that fact explains its status of dark sketch. because, more important than story is the admirable acting. a film who seems be a trip in middle of instincts, pain and broken masks, it is, in fact, touching exercise of self definition.the image, the script, the performances are real good. film about sin in its deep dimension, it is religious out of the ordinaries rules of genre. because it is not exactly about the faith but about the sense.because the image is the lead character. a film like a parable. cold, honest, impressing. a special story about the choices and their price. it is not a bad idea to see it. maybe, for discover the world. maybe, yourself. in a different light.

The only good thing about this movie was the acting from Jens Andersen which was excellent. Else this movie was just total nonsense. Exaggerated in every sense and during the entire movie I was thinking what the hell is this. It tries to describe the life of people in the suburb and trying to make it interesting, pointless exaggerated violence is created.

For this movie Ole Bornedal really failed.

the acting from Aqua Lene was also okay.

Lasse Rimmer is bad casted for this movie. He is to nice guy material and gives his part a science fiction feeling

If you wanna compare this movie with another movie, you could compare it with the classic "Straw Dogs" (Dustin Hoffman, Directed by Sam Peckinpah)! And it plays in that League, because it is really good, acting-wise and story-wise!

Having said that, of course if you don't know what to expect, you might be disappointed, as can be seen, by another reviewer on this site. Of course he is just warning other people, that might have the same problem he had, just don't let that cloud you own judgement and if you can go and watch this little dark thriller, with more humanity than quite a few other movies with similar stories.

The newest Ole Bornedal film is a continued exploration of styles, themes and content not normally associated with Danish cinema. Following the awesome meta-film noir 'Just Another Love Story' and the great children's horror/sci-fi 'The Substitute', 'Deliver Us from Evil' is like no Scandinavian film you've ever seen before. Not to say that this is a wholly original work of art, it's not, however, the combination of all the elements makes it unique as a Danish movie.

In the story, not too dissimilar to Straw dogs, we're in hillbilly territory, where one man tries to do the right thing and has to defend himself and his family against outsiders. Everyone accept the main family acts extremely over the top in a wonderful dramatic way but still strangely rooted in Danish society. You are in disbelief but still you feel that these obnoxious, unpleasant characters could be quite real.

The cinematography by Danish legend Dan Lausten is nothing short of brilliant and all actors shine, even though most of them are cast against type or comes from different backgrounds than movies. 'Deliver Us from Evil' is so well made on all accounts that it can only be described as a Danish masterpiece. It wouldn't necessarily be a masterpiece had it been made in the US, but perfecting the western genre, flirting with horror, making social comments, all grounded in a Danish setting with thrills and kills, this is as good as it's going to get. And Ole Bornedal, once the great talent, has through recent years, enriched Danish film more than anyone, except maybe Von Trier.

"Deliver Us From Evil" is a Danish film written and directed by Ole Bornedal. The film is set in the Danish countryside, after a young father moves back to his hometown with his family, where circumstances soon follow that force him to defend his family, and the way they live their life as well. On the surface, this is a stylish thriller both beautiful and brutal, with events that bring to mind Sam Peckinpah's 1971 classic "Straw Dogs." However, "Deliver Us From Evil," maintains a certain tone that prevents it from reaching the same emotional and psychological impact of its predecessor.

Lars (Jens Andersen) and Johannes (Lasse Rimmer), are brothers with very little in common. Johannes is a high-powered lawyer with a beautiful wife and two children; Lars is a drunken truck driver who beats his girlfriend. Having returned to his hometown in the country, Johannes hopes for a less hectic, more genuine lifestyle. But trouble is underfoot when Lars runs over a woman with his truck. He sees only one-way out: put the blame on Alain (Bojan Navojec), a Bosnian refugee with impaired mental functions. Led by the dead woman's husband, a retired colonel whose son was killed in the Serbian theater, the town's population of angry drunks and bitter workingmen instantly jump at the chance to crucify the outsider, but Johannes stands in their way, motivated by his sense of amorality. Undeterred, the violent, drunken horde makes their way to Johannes' secluded house, where the family and Alain fear for their lives. The house is converted into a fortress, where the madness and siege begins.

An engaging, yet over determined setup, the movie does little to complicate. What few twists in the story that exist, don't add to much of anything shocking or memorable. Perhaps it's the saturated high contrast of the cinematography, that while absolutely stunning, it gives the film an artificial feel. The cast is of one-dimensional clichéd characters, who all play predictable roles. The strange choice for a narrator whose introduction of the story makes it seem like it's a family comedy, and not a gripping thriller that is about to unfold. The end result is a brutally violent climactic showdown that may be visceral and exciting, but lacks the grit or the emotional involvement that would have made this one a classic in its own right.