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And then there’s the moment when Roger must save himself by immersing his entire body, head and all, in a pit full of human excrement.
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After a car accident, for example, we must endure two revealing shots of a body with the face smashed into an unrecognizable pulp. “Headhunters” has its fair share of blood, but it doesn’t end there. I did mention it was a crime thriller, right? The genre comes affixed with certain hallmarks, not the least of which is blood. And even if the epilogue is merely a tying up of loose ends, you have to marvel at the intricacy of the knotting.Īlthough not a horror movie, the film does occasionally indulge in morbid imagery. I didn’t know where it would go, but I knew I wanted to stay and find out. The pacing, structure, and characterization are such that we find ourselves swept into the narrative.
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Here is a film that doesn’t pressure us into suspending disbelief. Don’t be fooled by its seemingly random sequence of events this story has some surprises in store, ones that may not be remotely plausible but are so cleverly written that we can willingly overlook the technicalities. Just when you think you know where it’s heading, it veers into an entirely new direction and gives us a whole new set of circumstances to feel tense over. “Headhunters,” adapted from the novel by Jo Nesbø, is a taut and strangely engrossing crime thriller. Things take an unexpected turn when Roger finds Diana’s cell phone on the bedroom floor. With the help of his sex-addicted friend, a security guard named Ove (Eivind Sander), he breaks into Clas’ apartment, which he claimed was an inheritance from his grandmother. If Roger could steal it, it would solve his mounting financial problems and enable him to continue his expensive lifestyle. Roger soon learns that Clas is in possession of a painting by Rubens, one so valuable that it’s easily worth tens of millions. Now the senior manager for an advanced electronics company, he seems to be the ideal candidate for a position in Roger’s company. On the night Diana opens her new art gallery in the middle of Oslo, she introduces Roger to Clas Greve (Nikolaj Coster-Waldau), a Danish-Dutchman who was once an elite soldier and a mercenary. He has a very precise set of rules, and he uses them every time he breaks into someone’s home, removes the art from its frame, and replaces it with a very convincing imitation. To finance the lifestyle he believes is making his wife happy, he lives a double life as an art thief. Roger stubbornly avoids the issue, although it isn’t immediately made clear why. It might appear as if she appreciates what he’s doing, but deep down, she isn’t as swayed by material things. figures to around 5’5”, he needlessly suffers from an inferiority complex, one that drives him to spend money he doesn’t have on lavish gifts for his wife, Diana (Synnøve Macody Lund), who’s not only indisputably beautiful but also taller than he is. Standing at only 1.68 meters tall, which translates in U.S. Roger Brown (Aksel Hennie) is not satisfied with his stature as a skilled headhunter for his company.