आलोचक समीक्षाएं

Invigorates its well-worn formula through meticulous stewardship and an excellent performance from headliner Gustav Dyekjær Giese as a boxer who attempts to realize his dreams of glory in the most daringly illicit manner imaginable.

August’s script deserves much credit––a lot needs to be made known during preparations for what occurs to make sense. That none of it feels forced is no small feat.

It glides along the surfaces of its characters and its world and rarely digs as deep as one might like. But the experience is intense, and the surfaces are beautiful.

The Quiet Ones is a reminder of the simple pleasures of a caper film with ice in its veins.

The Quiet Ones isn't action-packed enough to be pure fun or interrogative enough to be thought-provoking.

Frederik Louis Hviid’s second feature is an absorbing true-crime tale that readily holds attention for two hours, while lacking the deeper emotional involvement to linger in the mind long afterward.

By the time this hard-nosed genre exercise arrives at its ambivalent final scene, whether or not the criminals get away with stealing a few million Krone feels all but irrelevant to a world in which real fulfillment is so hard to keep.

It's a frustratingly one-note experience that boasts technique and potential, ultimately undone by a narrative blandness painted by numbers. Separately, everything works — the plan just never comes together.

The theft that inspired the movie has been called one of the biggest in Denmark’s history. It deserved a sleeker film.

There’s no rule that every criminal has to be charismatic, or all their heists have to be heart-pounding. They just can’t commit the one sin that’s truly unforgivable: leaving us bored.