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This is the type of film noir Robert Mitchum and maybe Bogart loved to play in: convoluted story, intricate plot twists, and… "always a woman", as Jonah (Anders Bethelsen) mentally intones while dying, on his back in the rain, and reflecting on how it all started – an opener that's a great tribute to Billy Wilder's Sunset Boulevard (1950) with Joe (William Holden), dead in the swimming pool, his spirit entertaining similar thoughts and regrets.

Jonah is no screen-writer though: he's a crime-scene cop, a photographer, a husband with a wife and two kids, and is already deep into his mid-life crisis. Like many angst-ridden men of his age, he wants more. Well, along comes distraught Julia (Rebecca Hemse) who inadvertently smashes her car into the rear of his, with wife and kids onboard (what a technical triumph that smash-up was!). Julia lands in hospital, almost blind, remains in a coma for a short while and, when she wakes, she has little or no memory. Jonah, while visiting her, is mistaken for Sebastian (Nikolaj Lie Kaas), Julia's fiancée from Hanoi. Quick as a flash, Jonah dives into the deception because now – stupid sap – he thinks he's in love...

If you can accept a venture of that magnitude by an otherwise intelligent cop and father of two cute kiddies, then accept what follows as a clever take, perhaps even inversion, on the traditional femme fatale scenario. Sure, you already know he's dying but – who fired the shots? The answer, as in all excellent film noir, comes only in the few seconds that precede that deliciously dark opener. Before you get there, though, the plot has enough false trails, macabre cop humor and misdirection for you, to keep you glued to your seat. Moreover, like all good narratives, nothing is ever as it seems. In that regard, I'm reminded of the murder of luckless Lester (Kevin Spacey) in American Beauty (1999), ironically gunned down in his house, blissfully unaware of who did it and why.

Technically, the structure of the story and photography is brilliant, with the first twenty minutes giving the viewer a series of scenes and dialog in a seemingly discordant sequence. As the plot continues, the editing of sound and picture then assumes an ironic register and tone, as the dialog from one scene might play over a scene that opposes or deconstructs the other. It's a narrative technique that's quite effective and, best of all, it's not overdone. You'll know it when you see it.

The acting and direction are superb, no question. The special effects during fight scenes grittily and graphically hit this viewer between the eyes. Moreover, I think the editing displayed true mastery of narrative flow and cohesion. And the music score fits like a glove. Overall, this is one of the most satisfying and entertaining efforts in this genre for many years. But, is it believable? Well, given the propensity for most of humanity to do stupid things for love, I'd say that's a no-brainer.

Recommendation – run to your video store and get it. Nine out of ten (nobody ever gets ten from me).

December 4, 2013

This film could have been based on a novel written by Harlan Coben or Donald Westlake. In fact, Ole Bournedal (writer/director) has recently been tapped to direct Dean Koontz's novel, "The Husband". JUST ANOTHER LOVER STORY contains all the elements of classic noir fiction, and incorporates a fresh and modern cinematographic style. The film centers on a man who jettisons his humdrum existence for the love of a mysterious woman. Add amnesia, a murder-suicide, stolen diamonds, The Asian Mafia, and set the action in beautiful Denmark, and you have the essence of JUST ANOTHER LOVE STORY. This is not a great film, but it accomplishes every challenge, and is a very positive addition to Danish cinema, and the Film Noir Genre in general.

Actually I can't agree with the rather negative user comment. I saw the movie just last week at the Fantasy Filmfest in Munich, Germany. In my opinion the movie was one of the surprising highlights at the Fantasy Filmfest. I was pleasantly surprised after watching many of the other movies at the festival. Different from many of the other films which were just splatter and blood everywhere, this movie actually had a good story, surprising twists and good actors. I liked how the actor showed the feelings of many people: not wanting to be normal and having some more exciting things happening in his life. He actually had a good life with a wife, kids, nice flat, but something was just missing. I think a lot of people feel like this. And best of all: The ending is great!

This may not be my favorite film of all time, but it was definitely a great watch in the theater! It was like an exceptionally twisted version of the romantic comedy "While You Were Sleeping." I loved the blue-and-green cinematography as a backdrop for such a black plot (which, by the way, I thought was entirely coherent and interesting). The filmmaker definitely took some risks you wouldn't see in a Hollywood film, but I thought they payed off. The overlay of simultaneous action images was aesthetically pleasing and allowed forward action to continue while giving clues into the character's mysterious past. I think what really made the film for me though, was the concept of the basic human (and especially American) need for MORE. No matter how perfect a life may seem, it is never really enough. Trying not to spoil the plot, there are some actions that would normally make the character seem like a jerk, but he is still very easy to sympathize with because we all have the same driving desire for satisfaction. I think the original Danish reviews had it right. While some of the violence and nudity may not be completely vital to the plot, it all adds up to a great modern-day film noir.

This movie is in my opinion a great leap forward for Danish Film.

The many different levels it works on simultaneously - seem to encapsulate the feeling of someone being in way too deep and over his head while not being able to untangle himself from something dangerous, exciting and alluring.

The film proficiently portrays how making one split-second decision can take you in to increasingly deeper and more serious waters - pushing you to make choices about your life you never knew you dared.

The acting is superb, especially the head first passionate plunge of the relationship between Rebecka Hemse and Anders W. Berthelsen juxtaposed with the secure home-life that Mette (Charlotte Fich) provides, represents and desperately fights to uphold.

The editing and pace of the film grips, moves and pushes you into all sorts of different reactions and places, while the gorgeous visual palette of the cinematography is second to none in my opinion. Dan Laustsen must be a member of the absolute elite working in Europe today.

I throughly enjoyed this film, and would not hesitate in recommending it to any moviegoers out there who enjoy being challenged, moved and thought-provoked when taking in a film.

Go see it!! C