filmbore pick of the week - Rare Exports: A Christmas Tale

Rare Exports: A Christmas Tale

Director: Jalmari Helander
Screenplay: Jalmari Helander
Starring: Onni Tommila, Jorma Tommila, Tommi Korpela, Ilmari Järvenpää, Peeter Jakobi, Rauno Juvonen
Year: 2010
Languages: Finnish, English
UK rental release: November 2011

IMDb
LoveFilm
Rotten Tomatoes

Here's your second review for this week as promised. Yesterday pick, Festen, was tenuously linked to Christmas through the medium of dinner parties and family gatherings. Today, however, we're going full filmbore alternative yuletide, with one of the movies I picked for last year's Top 10 Wonky Christmas Movies, the unique Finnish black comedy-horror, Rare Exports: A Christmas Tale.

24 days until Christmas. A team of workers are drilling deep into the Korvatunturi mountains with knowledge of mysteries buried deep within. A soon as progress is made, their benefactor gives them some bizarre rules that must be adhered to lest they expose themselves to unnecessary danger.

Two boys spy on the workers. Pietari (newcomer Onni Tommila) is worried about what they are doing, believing something terrifying to be buried there, possibly Santa Claus. His best friend, Juuso (newcomer Ilmari Järvenpää), is less bothered though, and sees no problem in what the builders are doing, or that they've been spying on them, and certainly doesn't believe that they find Santa underneath all of the earth.

But Pietari knows more about the saint of the yuletide period than Juuso does: the real mythological Santa in Finland is a completely different beast, as his sole purpose is to torture and consume all naughty children. This perturbs Pietari.

Just 1 day until Christmas and work has finished on the mountain. Pietari's father, Rauno (Jorma Tommila, Raid, Priest Of Evil), is setting traps. The explosions over the previous weeks from the workers dynamite has excited the wolves in the area and they're now on the prowl. Rauno is a burly man with a strong work ethic. He loves his son but wants him to make that step from boy to man as soon as is possible. Things have been difficult since his wife, Pietari's mother, has passed away, but he remains strong for the boy.

While rendezvousing with the other villagers, they discover that their reindeer have been massacred. Rauno's friends have turned up too: Piiparinen (Rauno Juvonen, Bad Luck, Ambush) and Juuso's father, Aimo (Tommi Korpela, Purge, A Man's Job). Together, they want to find out how their winter meat stock was slaughtered, venturing to the work site atop of the mountain for some answers. When they get there, they find that the workforce have excavated an enormous site.

It's now Christmas Day. There is some weird goings-on around the village, the workers have been assaulted by an unknown source and Rauno's trap has been activated. On checking the pit, he finds the body of an emaciated old man in there. But this frightening looking fellow (Peeter Jakobi, Living Images, Viimne Reliikvia) is no ordinary person. 

If you are naughty, even if you curse a little, he'll attack you in a flash. Could this be the real Santa Claus? Or are they all victim to a sick hoax?

Rare Exports is a thoroughly entertaining movie made off the back of two Finnish shorts: Rare Exports Inc and Rare Exports: The Official Safety Instructions. SPOILER WARNING: If you have not seen this full feature yet, I advise you to not watch these two shorts as they will spoil the movie for you. However, I must advise that you do watch them immediately afterwards though, as they are very funny.

What's important to note here (as I put my filmbore hat on) is that funding was found off the back of these shorts but this wonderful movie was still produced on a modest budget of just over €1.8million. 

This picture has a grand scale feel in its shooting, which is exceptional when considering the minimal funding that Jalmari Helander had. Filmed in hi-definition, there's a richness and crispness to this picture, especially noticeable in the earlier scenes set mainly during the daytime. Some of this bountiful display forms in the absolutely stunning shots of the Finnish landscape grafted throughout the entire piece.

Some of the other choices with the lens are intriguing too; I can't say too much without giving some of the game away. There are some courageous shots during the last scenes, and peppered with dramatic camerawork it is visually unusual. There are few pictures that look like this.

There aren't many that feel like it either. There is a general feel of Christmas in the air in this tale early on, yet this vibe is fleeting, making way for more laughs and scares later on. Based on the Finnish myth of Father Christmas as opposed to the more commonly known friendly one we all know and love, he was feared by children in days yonder in order to prevent them from misbehaving. If they did, the creature known as Joulupukki or 'Yule Goat' would come and kidnap them ready for punishment.

With this background and the manner of the film's production it is slowly gripping with some good 'jump moments'. It's a true Xmas horror, and very ambitious for a small film, yet with its dark premise it still has a light feel about it. It's great fun and could sit quite comfortably in the Saturday night popcorn movie pocket too.

As commercially viable as it is, there are some that may feel that it is a little brief, and that there is more that could have been explored. Personally, I would have enjoyed a bit more to be frank this is but a minor dent in an overall enjoyable piece. I wouldn't rule out a sequel either. In fact, as rare as is suitable, I imagine a follow-on to this first full-feature instalment would be very well received. 

Such a step would allow us to see this great cast work together again. Even though playing up the fear and suspense, nobody takes themselves too seriously, ensuring that they keep their feet firmly in the black comedy genre. All except for one man...

Peeter Jakobi, who plays the demon/Santa/who-knows-what cuts an imposing presence. Alien in his appearance, he is otherworldly and quite sinister. He cuts it so very fine too as a little too much terror would have obliterated the pictures delicate attempt at successfully balancing genres.

I can't talk about cast members without mentioning our lead, of course. Onni Tommila as Pietari is adorable: an inquisitive and brave young boy portrayed brilliantly by the new young actor. There is a new film coming out in 2014 called Big Game that he has a part in, so maybe if it does well we could see more of him in the future, which can only be a good thing for such a promising actor.

Another cast member in Big Game next year is Jorma Tommila, who plays Pietari's father Rare Exports and is also Onni's dad in real life. This father-and-son pairing is where this movie truly shines. It helps to generate a quickly established relationship between Pietari and Rauno within the opening sections of the tale. And, due to their relationship outside of the film, there is natural family chemistry between them, which is very evident on screen. It grants the whole piece with more realism, improving it even further.

This connection between parent and child is where you will be drawn in, and helps to accentuate the true meaning hidden under the array of entertainment. Aside from the combination of humour, horror and fairytale elements, Rare Exports is really a story about a boy's transition to a man, done so by facing his fears and believing in his convictions, while at the same time trying to stay off the naughty list!

With a climax that will surprise you with a nice little twist, Rare Exports: A Christmas Tale can entertain, amuse, shock and move you. In the history of movie making it is already making waves as one of the world's truly alternative Christmas films. It's a genius concept. An absolute original.

Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

Alternatively, you could contact me directly about this film or my other reviews on pickoftheweek@filmbore.co.uk

filmbore pick of the week - Festen

Festen

Director: Thomas Vinterberg
Screenplay: Thomas Vinterberg, Mogens Rukov
Starring: Ulrich Thomsen, Thomas Bo Larsen, Paprika Steen, Henning Moritzen, Trine Dyrholm, Bjarne Henriksen, Helle Dolleris
Year: 1998
Language: Danish
UK rental release: November 2003 (DVD)

IMDb
LoveFilm
Rotten Tomatoes

Well, it's been a couple of weeks now since I last reviewed a film. Hopefully, you've been celebrating Christmas well and continue to do so. Your first treat from filmbore came in the guise of an alternate version of my Top 10s with filmbore's 12 days of Christmas, so go check it out if you haven't already.

Due to last week's missing review, I'll be posting two articles this time around; one today, one tomorrow. Today's choice was inspired by the Christmas tradition of families gathering in celebration over dinner and drinks. And there's only one film that captures this experience, albeit in a typical filmbore fashion, and that's Thomas Vinterberg dark drama Festen.

An elaborate lodge is the destination for many family members, travelling from all over Europe for a gathering in celebration to their patriarch, Helge (Henning Moritzen, Cries and Whispers, Allegro), who is 60 years old today.

We first meet his eldest son, Christian (Ulrich Thomsen, Adam's Apples, Brothers) walking with his luggage through the Danish countryside. A slightly reserved gentleman, Christian has been very successful in his life, with a couple of restaurants in Paris. He's looking to move the business to Lyons however, so has plenty on his mind.

Just passing him is his younger brother, Michael (Thomas Bo Larsen, The Hunt, The Biggest Heroes), an excitable, veracious character. He has a tumultuous relationship with his wife Mette (Helle Dolleris, Flickering Lights), already arguing with her about giving Christian a lift to the hotel. Picking him up off the side of the road, he leaves his wife and kids to walk all the way to the lodge.

Once they reach the hotel, Michael finds that he isn't welcome at the gathering at all; his father doesn't want him there. Michael will stay regardless, hoping to reconcile the rift between them. At this point, their younger sister Helene (Paprika Steen, Mifune, Okay) arrives by taxi. Helene is a singer and is well travelled, but has always been seen as a bit of a loner in the family.

When the three siblings get together they turn into kids again, play fighting like the good old days. There is someone missing though: the other sister, Christian's twin sister Linda, had died earlier in the year leaving a gap in all of their hearts.

Helene finds out that she's staying in the room where Linda died, and she's unsure if she wants to stay there. That is until she discovers that Linda left a cryptic clue for her in the same vein as the games they played as children. After searching all over the room, following Linda's clues, Helene discovers her treasure: an unexpected letter.

Even though they are estranged, Helge offers his youngest son Michael a potential invite into the Freemasons, citing that introduction to the secret organisation is more certain if he demonstrates a good manner in the evening's proceedings, ensuring that every goes by without a hitch.

This maybe out of Michael's control however, as Christian has ulterior motives. While everyone gets ready for dinner, preparations are underway, lead by the family chef, Kim (Bjarne Henrikesen, Chinaman, The Hunt). Kim is Christian's childhood friend and knows of his intentions. Christian wants to leave after he reveals his secret but Kim wants him to stay and see it through. He'll do whatever it takes to help his old friend through this.

All falls apart when Christian, tasked with making the first key speech of the evening, as he makes a shocking announcement that will begin to tear the family apart.

Welcome to the mother of all dinner parties! With some intense speeches and frightening revelations this is a film that will take you by surprise. From brilliant Danish writer and director, Thomas Vinterberg, who's recent film The Hunt, which I reviewed here, is another example of dark secrets and withheld truths, Festen is a story of revenge and stature in its microcosmic setting.

It's also about how appearances at family gatherings can be deceiving. On the outside, the siblings in this tale seem to be doing very well in general but are clearly troubled internally. This is accentuated at its fullest when seeing the relationship between Christian and his dad, Helge. Brewing through the entire piece is a psychological battle between father and son, which is the canvas that the whole picture is grafted onto.

The spine to this story is quite disturbing. I don't want to give anything away, as the reveal is key to your involvement with the piece, yet you'll notice the tension gradually erupting in phases once the first secret is announced.

There is some light at the beginning of this story though. The coming-together of the three siblings is joyous and familiar. There are a few laughs too. In fact, many have described Festen as a black comedy. I think not though... there is some surprising humour earlier in this tale, but I feel that it is placed there purely as character establishment. 

These moments are very funny, but this veil is dropped once the heavy premise of the overall plot raises its head. This early balance of comedy, resentment and fear works so fantastically due to the key performers. This cast is incredibly raw, all encapsulating genuine emotive execution with ease.

Thomas Bo Larsen, in particular, is just sensational as begrudging younger brother, Michael. Even though still successful, he is always in the shadow of his elder brother, Christian. Yet, this is never uttered, just portrayed with delicate subtlety by a man who is born to act. He blew me away as supporting character Theo in The Hunt, and he demonstrates the same level of both simmering emotion and explosive, uncontrollable dynamism in this piece too.

Such rich and absorbing performances have been allowed to flourish due to the perspective taken by Thomas Vinterberg in the creation of Festen. For those of you who may not be aware of this premise, this picture is the first to be crafted under the method determined by the Dogme 95 Manifesto. Set by both Vinterberg and another great Danish filmmaker, Lars Von Trier, the Dogme 95 Manifesto takes its credence from an article by François Truffaut, which illustrated the desire for creating pieces that concentrate purely on plot and performances. 

By exiling any techniques that involve special effects or post-production improvements and following a specific set of rules, these low budget outputs are intended to be shot in their entirety on set in the form that they are expected to be seen and heard. Of course, editing is allowed, but that is as far as you are permitted to go. This approach was revelatory at the time, inspiring other filmmakers to follow suit and gifting the world with a plethora of beautifully and simply crafted films.

This mentality prevents excessive budgets, yet the techniques used demonstrate how you can use the tools you are given to their fullest for incredible effect. With a very "fly-on-the-wall" feel throughout, there is some insanely brilliant shooting to be enjoyed. The nature of the camerawork flips from patient close-ups, to capture the tender performances, then parades a flourish of sweeping pans and a perfectly measured amount of moving dutch angles that garnish the flavours served.

Infusing the overall picture with a little panache, the lens work is just superb, especially considering that only basic lenses are permitted, again down to the Dogme 95 Manifesto. The methods used, accompanied by incredibly natural acting and a tale that would shake anyone, Festen is a pure demonstration of what is capable when you strip down all the gimmicks and focus on pure brilliant film making.

As one of the world's ultimate dinner party movies, Festen will not be what you expect. This is an extremely dark story, revealing a disturbing family history. You'll find a personal connection with the siblings in particular and will be drawn in by the realism of the overall piece. But taking into account the outcome of this tale, I'd be surprised if any Christmas gathering would turn out like this! You've been warned...

Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

Alternatively, you could contact me directly about this film or my other reviews on pickoftheweek@filmbore.co.uk

filmbore's 12 days of Christmas

Twelve Day's of Christmas - the filmbore version!

Okay not strictly a Top 10 this, as we're attuning choices to the famous yuletide song but it's a list all the same. Plus, you only get ten choices normally, so consider the extra two as little pressies from me. It is Christmas after all!

The Twelve Day's Of Christmas is a globally renowned song that most of you should hopefully know. And in conjunction with the many tiers of crazy people or animals, embodied in some sort of occupational act, below I've listed a film (accompanied by an alternative) for each line of the tune.

Your challenge, if you wish to accept it, is to watch all of them by the time the holiday break is over.

WARNING! Some of these choices are a little convoluted!

Okay...let's start with...

12 Drummers Drumming... 
This Is Spinal Tap (1984)

This is probably the amount of drummers the band has gone through over the years! All the way back to John "Stumpy" Pepys in their earlier years as The Thamesmen, the bearer of the sticks in Spinal Tap was always doomed, pending a mysterious death.

Or...Wayne's World (1992)

Garth Algar can play the skins like twelve men. He likes to play!

...11 Pipers Piping...

Brassed Off (1996)

The brass tones piping through the tubes of the Grimley Colliery Band could be heard for miles. I'd like to see any other team of pipers step up to this gathering of straight-talking northern miners.

Or...They Live (1988)

Rowdy Roddy Piper...nuff said

 ...10 Lords a Leaping...

 Lords Of Dogtown (2005)

Catherine Hardwicke's biographical approach to the story of California's Z-Boys has the area's urban "lords" leaping all over the place, while they Olly and Kick-flick their way around town.

Or...The Madness Of King George (1994)

This actor's masterclass sees Nigel Hawthorne's king leap all over the place

...9 Ladies Dancing... 
West Side Story (1971)

Lots of dance scenes int his classic musical of course. Yet, there's nothing more vibrant than the ladies getting down to America on the Manhattan rooftops.

Or...Flashdance (1983)

Jennifer Beals. She's A Maniac. Need I say more?

...8 Maids a Milking... 

The Help (2011)

This story, influenced by novelist Karthryn Stockett's experiences with African-American maids during the Civil Rights Movement is a moving depiction of the life of a maid in 60's America and the strain a journalist goes through to "milk" a good story!

Or...Milk (2008)

No maids...or milk...just the name...oh well!

...7 Swans a Swimming...

Black Swan (2010)

It may have polarised audiences but there's no disputing the stark beauty and sensational camerawork from Darren Aranofsky's take on Swan Lake while blended with Dostoevsky's The Double.

Or...Pirates Of The Caribbean: The Curse Of The Black Pearl (2003)

Kiera Knightley's Elizabeth Swann falls in water at the beginning. There you go!

...6 Geese a Laying...

Top Gun (1986)

When the ejector seat fails in this cheestastic classic, Goose is found lying in the sea by Cruise's Maverick...he'll be laying down for some time no Mav...

Or...The Wild Geese (1978)

Them old mercenaries could probably do with a lie down!

...5 Gold Rings...

Chariots Of Fire (1981)

Nothing better represents the five rings better than The Olympics, and this typical British biopic of two athletes competing in the 1924 event is a heart warmer.

Or...The Lord Of The Rings (2001 - 2003)

It's got rings in it. One main one anyway...

...4 Colly Birds...

Dumbo (1941)

Okay, so there's five blackbirds (or colly birds) who sing hysterically about an elephant flying but if you can just ignore one for me when watching one of Disney's most beautiful pictures, I'd appreciate it! Here's a shot with four if it helps...

Or... The Birds (1963)

Loads of birds in this. At least four of them must be blackbirds!

...3 French Hens...

The Triplets Of Belleville (2003)

Madame Souza and the Belleville sisters make up this trio of French dames in order to locate Souza's kidnapped grandson, taken from them during the Tour De France.

Or... Chicken Run (2000)

Okay, these hens aren't french, but come on!

...2 Turtle Doves...

The Killer (1989)

Parodied many times, John Woo's climatic church scene in this, one of his earlier Hong Kong action films, is iconic due to the continual flurry of doves during the big shoot-out. Plus, our two leads are draped in white clothes, mirroring their winged brethren.

Or...Bladerunner (1982)

Beautiful speech but I still can't work out where Roy Batty got that dove from!

...and...

Alan Partridge In A Pear Tree!

Alan Partridge: Alpha Papa (2013)

Was it that obvious?! Well, what else was I going to pick?

For those of you outside of the UK, you will have heard of Steve Coogan but not his most important character, Alan Partridge: a calamity of TV presenting, incredibly unlucky and nearly no vocal filter. He is, undoubtedly (debate with me, I dare you!) one of the funniest comedy characters to come out of the UK.

Besides the odd TV special and some webisodes, it has taken over a decade to move Alan from the small screen to the silver one, from when he last aired on British TV in I'm Alan Partridge in 2002. Yet, there was a lot of trepidation over whether the transition would really work, as it rarely has done in the past (Ali G anyone?!). 

Thankfully, the years of patience paid off and the UK fan base were rewarded with Alpha Papa, a hilarious take on the siege film. Some didn't like, some were a little passive, some absolutely loved it. However, what's incredibly noticeable is the film's balance and pace. Yes, there are a few loose ends but this is a great move to cinema for the lovable pillock and I left the cinema amused and satisfied afterwards.

Well done Siege Face! Back of the net!

Or...Derakhte Golabi (1998)

Translated, this is The Pear Tree. That'll do!

Merry Xmas filmborians!

If you disagree, and have other suggestions, please post comments at the bottom of the post. Or, email me directly on topten@filmbore.co.uk.

And don't forget, you can tweet me @filmbore or post on my Facebook page here.

Be patient

A little Chrimble delay...

Hi filmbore-natics! Well, due to Xmas holiday duties and journeys, there will be a little break in the usual filmbore pick of the week.

I won't be posting this Sunday like I normally will do but don't fret...there's plenty of treats in store for you over the next week, so just be patient and you'll be rewarded with some nice filmic gifts.

Plus, I'll hit a double whammy of a post the following week to make up for the missing review this time around.

If you're busting for a filmbore fix, then take a walk down memory lane at last year's Top 10 Alternative Xmas films... and make sure you watch at least a few of these over the yuletide period!

So, I hope you all have a lovely Christmas and I'll catch up with you all soon.

Charlie filmbore Pitt

filmbore pick of the week - A Hijacking

A Hijacking

Director: Tobias Lindholm
Screenplay: Tobias Lindholm
Starring: Pilou Asbæk, Søren Malling, Abdihakin Asgar, Gary Skjoldmose Porter, Rolland Møller, Dar Salim
Year: 2012
Languages: Danish, Swedish, English, Somali, Arabic
UK rental release: August 2013

IMDb
LoveFilm
Rotten Tomatoes

One of the most talked about films of 2013 has been the Tom Hanks starring Captain Phillips. I haven't seen it yet but I am looking forward to it. "But, there must be a filmbore equivalent?!" I hear you say. Where there is, with A Hijacking.

Welcome to the MV Rosen. A cargo ship in mid voyage, with a skeletal crew of just seven men.

Mikkel (Pilou Asbæek, World's Apart, Borgen - TV series) is the ship's cook. He's a joyous man, who misses his family terribly but still has the energy to jest with the crew. Nevertheless, he has to stay away from home longer than originally expected, even when he's been out at sea as long as he already has.

Peter (Søren Malling, Accused, A Royal Affair) is CEO for the firm that owns the freighter. He is a firm and calculated man, with a heft of responsibilities and the talent to handle millions of dollars in business within mere minutes. Peter's resolve will be tested when he receives a disturbing message.

The MV Rosen has just been invaded by Somalian pirates. The crew are aggressively taken hostage by their new oppressors. These pirates want to open negotiations with the Peter's company for a hefty ransom of the boat and crew. Ever the man of experience, this isn't a scenario that Peter is familiar with.

He employs the help of Connor Julian (newcomer Gary Skjoldmose Porter), an expert in matters such as this. Connor advises Peter in the best approach, bringing in another external person to act as a bridge between them and the raider. As CEO, however, Peter wants to take responsibility of the negotiations himself.

It's here that we meet Omar (newcomer Abdihakin Asgar). He is the Somalian negotiator and translator. He states complicitly that he is not one of the pirates but instead an impartial representative brought in especially for discussions with the company. Yet, he cuts an imposing figure and both Peter and Mikkel are unsure of his motives.

With seven men in the crew overall, our three main detainees, Mikkel, the captain and Jan (Roland Møller, R: Hit First, Hit Hardest), haven't seen the rest of the seamen since they were first taken captive. As each looming day brings more terror to their existence, and the smell of their execution draws nearer, it's clear that these negotiations could last months. Can they last that long?

You're in for a treat here. This superb Danish thriller by Tobias Lindholm, who wrote The Hunt with Thomas Vinterberg (see my review of this wonderful film here), was a bit of a sleeper hit. Unfair as this is, the film is starting to make some waves recently, partly due to Tom Hank's recent outing with the pirates.

One key difference between the two pieces is the source material. Captain Phillips is based directly on a true account, where A Hijacking takes its influence from numerous events of this ilk. Interestingly also, there is an alternative real life aspect to this picture regarding the two sites of the boat and the company's office block: the office based scenes in Copenhagen are shot at a firm called The Clipper Group, who are security specialists in real life boat hijackings, and the ship used in the film was a boat that was genuinely hijacked back in 2007!

With all of this juicy information though, it's clear to see where the realism of the piece comes in - through its production. There's plenty of natural light in use all over the film, and with lots of handheld work it feels, overall, very interactive and personal. In hi-definition, you'll notice a nice grain coated over the piece, enriching the already organic look.

Other key decisions in the production are intriguing. For example, Somalian and Arabic dialogue isn't subtitled, leaving us clueless to what the tale's oppressors are saying most of the time. This choice functions as a smart approach however, as through demonstrating some of the difficulties felt by the crew this method helps to encapsulate the isolation felt.

Interestingly, we don't even see the initial invasion. Instead, we are plummeted straight into the middle of the pirates raid; they've already boarded the ship and begin cyphering off important individuals. What may have been a decision regarding budgetary issues actually turns out to be quite effective. Raw tension is instant, drawing you in before you have a chance to read the situation fully. It's a gamble that pans out, creating core stress points early in the plot thread.

We do see moments of brief happiness seep through this unease. As the crew begin to befriend the pirates, they experience morsels of fruition, only to be dragged back through the rigmaroles of terror as the tale flips in an instant. It's a trademark technique for thrillers, accentuated throughout this film thanks to its realistic and gutsy approach.

All of these methods infuse with the spine of the film; of the psychological battles simmering through the long drawn out negotiation proceedings. As power switches over and over, we're never really sure who's leading the hostage situation. Is Omar really the pirate's captain? Or is he really just the impartial negotiator that he claims to be? He's a cryptic individual, handled beautifully by newcomer Abdihakin Asgar. He imbues this elusive man with an air of both grandeur and despotic reverence; an arresting performance from such an inexperienced actor.   

Søren Malling is strong also. He stands impervious for most of the picture, breaking into more dynamic responses when his deeper feelings manifest themselves. His character has to remain impersonal, yet this conflicts with his consideration for the crew and morals as a business head. Malling delivers a smoothly appreciative portrayal for this interesting man, leaving an inexpungible mark on the picture, even with the simplicity of a twitch in his cheeks when containing a pending retort or the fiery stare as he realises the gravity of a situation.

Within all of these performance though, there has to be mention of the tale's lead. Pilou Asbæk is just fantastic. Full of both confidence and fear, what would have been portrayed as a complex figure by others is instead, thankfully, catered for by Asbæk as a wholesome and open spirit. 

His character of Mikkel becomes the main communicator between the crew and the pirates, with such plot device permitting him to perform in a number of different scenarios. It's a dream role for any actor, to be gifted with a spectrum of opportunities, which isn't wasted by Asbæk as he emotionally bounces through each scene with sensational magnetism, through his blend of gentle and explosive micro performances. 

It's a delicate execution which, through being absorbed by this overall outstanding piece, you may only truly appreciate in its aftermath. Such is the impact A Hijacking has. Beautifully shot. Beautifully executed. Ingeniously subtle when required. One of Denmark's hidden gems!

A regular obstacle in Hollywood, you always seem to have two similar films in competition with each other. This time around, the movie machine left their US equivalent to its own devices. This allowed the European representative of this specific sub-genre flourish in the wake of its original release. This has meant that it is starting to find the recognition it truly deserves. It's very approachable for any film goer and a wonderful example of when smartly executed simplicity in film making nurtures complicated responses in your own view of the piece. I can't say which of the two films you should choose from, if this is a dilemma you face, as I am yet to see the Tom Hank's vehicle, but I can recommend A Hijacking purely on its own merit and its ability to move you.  

Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

Alternatively, you could contact me directly about this film or my other reviews on pickoftheweek@filmbore.co.uk