Series Review: Brotherhood – Season 2 (2003)

Last summer I covered the first season of this show. And I found it to be very good, which is something I don’t often get to say about media from my home country of Sweden. And now we’re back to cover the second season! So let’s see if this continuation is any good. Oh, and SPOILERS for the end of season 1, as that sets up this one. So yeah, let’s go.

Ladies, gentlemen, and non-binaries… “Brotherhood” season 2!

After finally having gotten arrested for robbing a bunch of banks, Jan “Hoffa” Lenhoff (Ola Rapace) gets sent off to prison. And so we follow him in his day to day life there, trying to get by while also thinking of getting out and back to his family. Right off the bat, this season is off to a good start. It’s nicely paced, the writing’s engaging, and the internal monologue of our main character really brings us nicely into the world. And as the season keeps going, the drama escalates and becomes more and more engaging… up until episode 4. Now, do not take that as the show jumping the shark at that point, because it doesn’t. The dramatic beats are still really solid. I do however feel that the pacing in episodes 4 and 5 is a bit off. What happens is that they’re working to cover A LOT of ground in just two episodes, when really it should’ve been spread out a little more, having maybe at least one more to help it from feeling so overstuffed with content. Again, the drama in itself is really strong and compelling, giving us a pretty nuanced look at these characters and their predicaments. I just wish we had another episode or two to space out the latter parts of the story a bit.

The characters in this are all pretty flawed, nuanced, and interesting. They all feel pretty believable, and they all work wonderfully within the story. Ola Rapace of course returns as Hoffa, our main guy from the first season. He was already a pretty interesting character, having an interesting arc in the first season. And in this second one he goes through another one, as his relationships get strained by his stay in prison, which makes for some compelling development. And Rapace is great in the role. We also get supporting work from people like Anja Lundqvist, Magnus Krepper, Jakob Eklund, Michalis Koutsogiannakis, Özz Nûjen, and more, all doing very well in their respective roles.

As with the first season, the music for season was handled by Martin Hansen and Mikael Nord Andersson, and they really brought their A-game here. The score of season 1 was already damn good, a moody, minimalist, blues-inspired score. And for season 2 they don’t alter the formula too much, other than adding some extra instrumentation to the various tracks, which I think really elevates it to being as great as it is.

As with season 1, the second season of “Brotherhood” was written by Lars Lundström and directed by Erik Leijonborg. And the two really did a damn fine job with it. I already talked about how solid the story and character stuff was, so I don’t think I need to mention much more about the writing. I will however say that Leijonborg’s direction remains one of my favorite aspects of the show. His style here isn’t exactly flashy or in your face, it’s very understated, almost having a bit of a fly on the wall feeling to it. And I think it works really well for the show.

This show doesn’t really exist much on my usual sites, so this section’ll be extra brief today. But I can say that it does have a score of 8.2/10 on imdb.com.

So while the pacing in the last two episodes if a little off, season 2 of “Brotherhood” is a damn good drama and further cements this as one of Sweden’s better television shows. It has a really good story, really good characters, great performances, great music, and really good directing. Time for my final score. *Ahem*. My final score for season 2 of “Brotherhood” is an 8.90/10. So while flawed, it’s definitely worth watching!

My review of “Brotherhood” season 2 is now completed.

Quality tv, woo!

Movie Review: The Wedding Photographer (2009)

I enjoy a bit of photography. I may not own an actual camera (though I’d really like to), but if I see potential in a spot or situation then I whip out my phone and snap a pic. Even during the Summer, this Swede takes some pictures. Wow, that was a clumsy tie-in to this series of mine… fuck it, it works.

Ladies and gentlemen… “The Wedding Photographer” (Original title: Bröllopsfotografen).

After the place he works at shuts down, Robin (Björn A. Ling) decides to take this new opportunity to move to Stockholm and pursue his dream of becoming a wedding photographer. And as he starts acquiring work and nestling himself in with some of the finer folks of the city, his life starts changing quite a bit. What at the start just seems like a romantic comedy with a poor goofball in a rich man’s world spin soon turns into more of a satire of class divide and how people might change if they try to look good for the allegedly “fine” people out there. And I found myself very entertained by the narrative. Sure, it’s not the most original premise, I could probably even think of a few films with similar setups, but as per usual it’s the execution that matters. And the execution of the story here is fun and entertaining, with a few decent nuances on occasion. The pacing does drag a little in a few parts, but for the most part I found myself just having a good time with the story here.

The characters in this are colorful, charming, and overall just entertaining. Björn A. Lind (credited here as Björn Starrin) plays Robin, a likable and somewhat ambitious young man hailing from the boonies in the northwest of Sweden. He has a bit of an interesting arc here that I found surprisingly engaging. And Lind is really good in the role. Next we have Kjell Bergqvist as Jonny Björk, a former comedian trying to make it as a more serious actor. He’s the one helping Robin get his foot in the door, and their bond is one of the best parts of the movie. And Bergqvist is great in the role. We also get supporting work from people like Tuva Novotny, Johannes Brost, Lotta Tejle, Johan Östling, Anastasios Soulis, and many more, all doing well in their respective roles.

The score for the film was composed by Jimmy Lagnefors, and it was okay. A bit charming, a bit dramatic, a bit eclectic. It works for the most part within the various scenes, even if it feels a little weird or eclectic at times.

“The Wedding Photographer” was written, edited, and directed by Ulf Malmros, and I think he did a really good job with it. He has a good way of keeping energy up in scenes without making anything feel rushed, creating a vibe that made me really feel part of the experience. I also have to mention the cinematography by Mats Olofsson, because it’s great. A lot of fun long takes, some clever camera movements, it just adds another layer of quality to the storytelling and overall enjoyment.

This movie has gotten some mixed reception. On Rotten Tomatoes it has a 48% audience score. And on imdb.com it has a score of 5.9/10.

While I think some of the humor will get lost in translation, I highly enjoyed “The Wedding Photographer”. It has a fun plot, good characters, great performances, okay music, and great directing/editing/cinematography. Time for my final score. *Ahem*. My final score for “The Wedding Photographer” is an 8,44/10. So I’d argue that it can be worth buying.

My review of “The Wedding Photographer” is now completed.

Say cheese.

Series Review: Brotherhood – Season 1 (2002)

What, you thought Summer of the Swedes was only about movies? Ahahaha, well to be honest, so did I at first. But hey, shit changes sometimes, you know. So anyhow, shall we get into the review?

Ladies and gentlemen… “Brotherhood” (original title: Tusenbröder) season 1.

Jan “Hoffa” Lenhoff (Ola Rapace) is a young family man who decides to open up a painting business with his friends (Shanti Roney, Danilo Bejarano). However, when things start going less than stellar for the business, the gang will have to resort to less legal methods to make ends meet. Generally speaking, this is a drama about family and the bond between the main trio (hence the show’s title), that just happens to feature some crime elements to help push the drama along. And I must say, I found myself quite compelled by the narrative here. I’m not saying that it’s one of the best stories out there, but I was definitely surprised at all the little nuances that the show presented. It’s not just “Oh, some good dudes falling on hard times, everything that happens can be somewhat justified”. The story here makes you question everything going on, makes you think about events from multiple angles, creating some really engaging tension and conflict throughout the five episodes.

Like the story before them, the characters of this show come with a surprising amount of nuance. Ola Rapace (credited in the show as Ola Norell) plays Hoffa, a man who loves his family, his friends, and wants to make sure his life goes smoothly. And over the course of the season we get to see his various conflicts, from his tense relationship with his dad, to the bond he has with his friends getting tested, to his inner turmoil around the illegal stuff he has to take part in. It’s all good stuff, and Rapace is really good in the role. Next we have Shanti Roney as Niklas, one of Hoffa’s best friends. At the start he just seems like the generally meek one of the group, and over the show we get to see him evolve in some really intriguing ways that make him a really fascinating character. And Roney is great in the role. Next we have Danilo Bejarano as Hamid, the third member of the main trio. He’s probably the one in the group with the least bit of development, while still being an interesting an vital part of the group when it comes to the drama. And Bejarano is good in the role. We also get supporting work from people like Anja Lundqvist, Sofia Helin, Lisa Lindgren, Tomas Pontén, Krister Henriksson, and more, all doing well in their respective roles.

The score for the show was composed by Martin Hansen and Mikael Nord Andersson. And I thought it was great. It’s generally speaking based around a blues-inspired acoustic guitar, which I think works in elevating the already solid drama on display here. As far as the licensed music goes, some of it works fine, and some songs don’t. There’s one or two tracks that actually took me out of the scene because of how it didn’t completely fit with the intended tone. So yeah, score’s great, licensed music can be hit or miss.

The show was created by Lars Lundström, with Erik Leijonborg directing all five episodes this season. And I must say that while the show looks like it was shot on a Sony Potato™, I can’t fault the overall direction. Leijonborg’s direction may not be flashy or even necessarily visually appealing, but I do think that works to the show’s advantage, seeing that it kinda fits the blue collar perspective the characters come from. With this said, some of the editing in a few scenes felt a little… janky. For the most part it’s fine, fairly standard stuff, but there’s a few scenes where it could be a little bit off. It’s nothing totally game breaking, but I felt that it’s worth pointing out.

On imdb.com, the show has a score of 8.2/10.

While it does have a few flaws in the technical department, season 1 of “Brotherhood” is a surprisingly great little drama series. It has a really good story, good characters, great performances, really good music, and good directing. Time for my final score. *Ahem*. My final score for season 1 of “Brotherhood” is an 8,82/10. So while slightly flawed, it’s still definitely worth watching.

My review of “Brotherhood” season 1 is now completed.

Most good Swedish shows I’ve watched have been comedies, so it’s nice finding a quality drama.

Movie Review: False Trail (2011)

The Summer of the Swedes continues, this time with the sequel of a film we covered a few weeks back. So that’s fun.

Ladies and gents… “False Trail” (Original title: Jägarna 2).

Stockholm policeman Erik Bäckström (Rolf Lassgård) reluctantly gets called in to help out with a murder investigation in his old hometown in Norrbotten. However, as Erik looks into the case he soon finds that it isn’t as simple as first assumed, all while trying to connect with his estranged nephew (Kim Tjernström). So at first glance it seems like a retread of the first movie. And with it being a 15-years later sequel, you’d be forgiven for not having high expectations. But I’ll be damned, the story here is actually not bad. In fact, I’d say it’s good. It uses a similar blend of police thriller and family drama to the first movie, without ever feeling like a complete retread of it all. It feels like a proper sequel that builds upon the world set up in the first one while also working as its own film. Yes, it ties into the first one a lot, but it recaps enough within its own runtime that would help anyone feel mostly welcome. But yeah, the story here is compelling and dramatic and a little suspenseful too. That said, the pacing does drag a little bit towards the middle and maybe also a little towards the second half, which does drag the experience down a little. But I can still happily say that the narrative here still works quite well.

Much like the story, the characters surprise by having an unexpected amount of depth, making them quite compelling to follow. Rolf Lassgård of course returns as Erik, the big, burly, but sensitive cop returning to his home. We have the layers of the first movie’s setup, while also adding some of the trauma from the end of that one to make for an even more nuanced individual. And Lassgård is fantastic in the role. Next we have Peter Stormare as Torsten, a fellow policeman who lives in the area Erik comes back to. He’s an interesting individual in that you quickly learn that he is one complex son of a bitch. There’s a lot of surprising nuances to him that makes him not only a good character on his own, but also a great foil for Lassgård’s Erik. And Stormare is fantastic in the role. And the supporting cast is great too, with people like Kim Tjernström, Annika Nordin, Lo Kauppi, Eero Milonoff, and more all giving damn good performances.

The score for the movie was composed by Johan Söderqvist, and I must say that I might prefer it a bit over the first film’s score. Not that the one in the 1996 film was bad, but the music here relies a little less on the melodramatic sounds of the first one, giving us a score that manages to resonate a bit more, create a much more interesting soundscape.

“False Trail” was directed by Kjell Sundvall, the man behind the 1996 original. And yeah, the dude has stepped up his craft quite a bit. His directing is more intense, being able to create a lot of tension in a scene, all without sacrificing the emotional intimacy that’s so integral to the experience. It helps make for some really investing scenes.

This film has been decently well received. On Rotten Tomatoes it has a 100% positive rating. And on imdb.com it has a score of 6.5/10.

Pacing issues aside, “False Trail” is a the rare unnecessary sequel that builds upon the first film and makes for another engaging experience. It has a good story, good characters, fantastic performances, really good music, and great directing. Time for my final score. *Ahem*. My final score for “False Trail” is an 8.77/10. So while hampered by those pacing issues, it’s still certainly worth buying.

My review of “False Trail” is now completed.

Crazy bastards did it.

Movie Review: Borg vs. McEnroe (2017)

I took a break from Swedish films for a bit, but now I’m back, ready to continue this Summer of the Swedes thing I’m doing. So let’s go.

Disclaimer: I know this thing is based on a true story, but I will not base my review on how perfectly accurate to the real situation it may or may not be, but I will instead judge it as a movie… which it is. Disclaimer over.

Ladies and gents… “Borg vs. McEnroe”.

Famous tennis players Björn Borg (Sverrir Gudnason) and John McEnroe (Shia LaBeouf) have a bit of an ongoing rivalry, both at the top of their game, both well known. And soon this rivalry might come to a head in the 1980 Wimbledon tournament. However, the movie is not just one long tennis match. It jumps back and forth in time a lot, showing us the upbringing of these men, as well as giving us a lot of their issues relating to their present situation. It’s very much a character study of these two complex and honestly fucked up individuals. And for the most part I found myself quite engaged by it, as the writing does give a lot of nuance to proceedings. It’s not a pure “hero/villain” or “adoration of giants” narrative, this shows that none of these guys are perfect. The story does step into a fair bit of the trappings that can be found within the biopic genre, and the pacing can be a little wonky in the first half, but overall I do still think the story works here thanks to some of the nuances within the writing.

The characters in this are layered, and overall just quite interesting. Sverrir Gudnason plays Björn Borg, a seasoned tennis player with multiple world titles under his belt. However, while this skill and fame is something people look up to, he is a much more tragic and meticulous individual, his mind isn’t all joy and tennis wins. I don’t know how else to explain it, the dude’s a fascinating person. And Gudnason is great in the role, giving a very reserved but still nuanced performance. Next is Shia LaBeouf as John McEnroe, Borg’s rival. He too carries a lot of emotional baggage, which we do find out about through the movie. And he is quite a compelling character, with LaBeouf giving what might be a career best performance. We also get supporting work from people like Stellan Skarsgård, Tuva Novotny, Scott Arthur, Ian Blackman, and more, all doing very well in their respective roles.

Unlike most movies, which have one composer, this one has four. Vladislav Delay, Jon Ekstrand, Carl-John Sevedag, and Johan Struck all contributed in some way to the score here. And despite there being so many names attached to it, the music is surprisingly coherent, giving us an intriguing blend of traditional orchestral elements with some electronic mixing to give it an intriguing and emotionally resonant sound that works pretty well within the movie. There’s also a few licensed tunes used throughout, and they work alright too.

“Borg vs. McEnroe” was directed by Janus Metz, who I think did a really good job with it. He knows how to really get you in the minds of the characters, all without losing the wider scope of the scene around them, giving us a good look at the full situation. This is further helped out by Niels Thastum’s slick cinematography, along with the spectacular editing from Per Kirkegaard and Per Sandholt. In terms of the technical craft, this movie is terrific.

This movie has been pretty well received. On Rotten Tomatoes it has an 84% positive rating and a “Fresh” certification. On Metacritic it has a score of 63/100. And on imdb.com it has a score of 6.9/10.

While it does fall into some biopic trappings at times, “Borg vs. McEnroe” is still a damn fine character drama. It has a pretty good story, really good characters, great performances, good music, and fantastic directing/cinematography/editing. Time for my final score. *Smacks ball*. My final score for “Borg vs. McEnroe” is an 8,77/10. So it’s certainly worth buying.

My review of “Borg vs. McEnroe” is now completed.

SPORTSBALL, WOO!

Movie Review: The Guardian Angel (1990)

Oh hi. Ready for another Summer of the Swedes entry? Cool, let’s go!

Ladies and gentlemen… “The Guardians Angel” (Original title: Skyddsängeln).

Some fictional European country, the 1910s. A revolution rages on, and one of the country’s ministers (Etienne Glaser) has decided to have a nice, relaxing summer with his family in the countryside. He has also brought his new bodyguard (Philip Zandén). And we follow these people as they go through ups and downs throughout the summer. This film tries to say things about stuff, but it never succeeded in putting it in my head. I don’t mind a movie trying to say something about humanity or politics or whatever the fuck, but you got to have a clever way of saying it that speaks to people. This right here is just fucking pretentious and boring, seldom doing anything remotely engaging. And even in those rare moments where something that could be called mildly interesting happens, the presentation (which we’ll get deeper into later) pushes it into nonsensical pretentiousness again. And while pretentiousness can be acceptable (see Ingmar Bergman), you’re gonna need something interesting to back it up… which this tale doesn’t.

The characters try to be dramatic and engaging and interesting, but guess what… nah. They all clash, as if they’re in different movies. Take Etienne Glaser for example. He very much has the vibe of an uptight asshole in a 50s drama. But then you have Björn Kjellman who feels like he should be in a 90s rom-com. And then there’s Philip Zandén whose performance feels like what Matthew Macfadyen would end up as if he wasn’t allowed to be expressive. The actors are trying, and generally I can’t actively say anything about their performances (except for Björn Kjellman, whose performance just feels weirdly anachronistic).

What’s interesting about the music in this movie is that there isn’t much of it. And the little we get is music licensed for the film. It doesn’t have a typical score. But how do these few licensed tracks work throughout? Eh. The tracks themselves aren’t bad, but the way they’ve been implemented just feels slightly off.

Based on a novel by Ricarda Huch, “The Guardian Angel” was directed by Suzanna Osten. And I have mixed feelings about the execution of her directing. It’s clear that she knows what she wants in her direction, the confidence is very evident in what we see. However, some of the choices made don’t really work for me. There are some shots that are a bit… off. But even more baffling is the editing, which is all over the fucking place, often just leaving me stunned as to why you would make a lot of those cuts, sometimes causing a weird sense of nausea even.

On imdb.com this movie has a score of 6.6/10. That’s all I got… the movie barely fucking exists on my usual sites.

“The Guardian Angel” is a bit too slow and pretentious for me, just ending up being a drab and less than engaging experience. Its plot is slow and nonsensical, its characters not that engaging despite (mostly) good acting, weirdly chosen music, the direction okay, and the editing being fucking baffling. Time for my final score. *Ahem*. My final score for “The Guardians Angel” is a 3,11/10. So I’d recommend skipping it.

My review of “The Guardian Angel” is now completed.

Zzzzz…

Movie Review: Let the Right One In (2008)

Good afternoon, my friends. Or good whatever-fucking-time-it-is-when-you-read-this. Either way, time for another Summer of the Swedes entry.

Ladies and gentlemen… “Let the Right One In” (Original title: Låt den rätte komma in).

Oskar (Kåre Hedebrant) doesn’t have it easy. He tries to just live his life, which is made harder at every turn by some other boys who bully him. But one day on a chilly winter night, he meets Eli (Lina Leandersson), a weird and mysterious girl that he soon starts befriending, which will change his life in a major way. Initial setup sounds a tad similar to “We Can Be Heroes!”, which I reviewed a week or so ago. But in execution it’s very different. Instead of being a lighthearted and funny story about outcasts who learn to follow their dreams, this is a slowly burning, somber affair that incorporates elements of existentialism and of course also the supernatural. And I found it to be utterly fucking engaging. Some people might hate the slow pace of it, in combination with the lack of scares (since it’s technically a horror movie)… but for me it just really clicked in an emotionally engaging way.

The characters in this are flawed, nuanced, and overall just really interesting. Something about the characters here just feels real to me, at least more so than many movies I’ve seen recently. And while some of the kid actors here aren’t necessarily great, they do still sell their performances pretty well. Kåre Hedebrant, Lina Leandersson, Patrik Rydmark, they all do well. And the adult actors like Per Ragnar and Karin Bergquist all do really well in their roles. It’s a well rounded cast.

The score for the movie was composed by Johan Söderqvist, and I think he did a really good job with it. It’s a somber affair, helping create this electrifying, almost dreamlike vibe for the movie. It helps create a deeper emotional connection between the viewer, really adding a lot to the atmosphere of the movie.

Based on the novel of the same name by John Ajvide Lindqvist, the script for “Let the Right One In” was written by John Ajvide Lindqvist, with Tomas Alfredson serving as director. The craft here is generally really good. Alfredson really knows how to make scenes feel both warmly engaging and weirdly unsettling. He also knows what to show, when to show it, and how long to show it. There is some genuinely disturbing imagery at times, and Alfredson does an excellent job in its usage. And the cinematography by Hoyte van Hoytema is really good as well, giving the movie a unique and stunning look that adds so much to the atmosphere.

This film has been very well received. On Rotten Tomatoes it has a 98% positive rating and a “Fresh” certification. On Metacritic it has a score of 82/100. And on imdb.com it has a score of 7,9/10.

“Let the Right One In” is an excellent little horror-drama. It has a great plot, great characters, really good performances, great music, and great directing/cinematography. Time for my final score. *Ahem*. My final score for “Let the Right One In” is a 9,78/10. So it gets the “SEAL OF APPROVAL!”.

My review of “Let the Right One In” is now completed.

Finally, a great movie in this series of mine.

Movie Review: The Hunters (1996)

The Summer of the Swedes continues, this time moving a bit further north in the country.

Ladies and gents… “The Hunters” (Original title: Jägarna).

Erik Bäckström (Rolf Lassgård) is a policeman who recently moved from Stockholm to his old home in Norrbotten following his father’s funeral. While there he starts investigating a case of large scale reindeer poaching. And as he investigates it, he soon starts discovering some dark secrets in and around his home. Yes, this sounds like a typical police film with a mildly unique setting. And at times it does feel like that. But then it also throws in its secondary main plot, which is Erik trying to reconcile with his estranged brother (Lennart Jähkel). And that relationship and the drama surrounding it is pretty fucking compelling, often managing to really get in my heart and my head and actually elicit some emotions. And while the main cop plot isn’t the most original or even nuanced (it does feel kinda shallow), it does work pretty well. And while that’s all good, there are a few bits throughout that don’t work too well for me, all falling within the second half of the movie. They don’t break the entire package, but they do bring it down somewhat. Overall though, the story here is quite good.

The characters in this are for the most part surprisingly layered and interesting. Rolf Lassgård might at first seem like “tough cop with a past”, but we do see throughout that he does have a sensitive side to him that helps endear us to him, with Lassgård giving a great performance. Lennart Jähkel as Lassgård’s tragic backwoods brother is fucking excellent. And the rest of the cast, containing people like Jarmo Mäkinen, Tomas Norström, Göran Forsmark, Thomas Hedengran, Editha Domingo, and more, all generally do very well in their respective roles.

The score for the movie was composed by Björn Lindh, and it was generally pretty good. It’s often pretty emotional and tends to add to the quality of the movie. Though there are admittedly a few tracks that maybe are a little bit too melodramatic for their own good. But generally the score here is good.

“The Hunters” was written by Kjell Sundvall and Björn Carlström, with Sundvall handling directing. And good god damn, the direction here is great. I am so used to movies here having a very “press record” kind of look. But you can tell that they really gave a fuck about making a well crafted drama here. The cuts are well done, the shot lengths are great, and the atmosphere Sundvall’s direction is just palpable. This is further complemented by the cinematography by Kjell Lagerroos, which is fucking stunning.

While this film doesn’t have too much data on my usual sites, I can still say that it was generally well received. And on imdb.com it has a score of 7,1/10.

While flawed, “The Hunters” still rises above many of its peers in the police drama genre, thanks to the crew actually giving a fuck about being compelling. It has a good story, good characters, great performances, pretty good music, and great directing/editing/cinematography. Time for my final score. *Ahem*. My final score for “The Hunters” is an 8,76/10. So I’d say it’s worth buying.

My review of “The Hunters” is now completed.

The Swedish word “jäkel” can be translated as “asshole” or other such rude words. Which is funny when there’s such a character in this, played by a man named “Jähkel”.

Movie Review: We Can Be Heroes! (2002)

Time for the Summer of the Swedes to keep going. So what’s on the menu today? A children’s film? Oh fuck.

Ladies and gentlemen… “We Can Be Heroes!” (Original title: Bäst i Sverige!).

Marcello (Ariel Petsonk) doesn’t have it easy. He’s bullied by some boys in schools, and his parents (Michael Nyqvist, Anna Pettersson) try to dictate where his life is supposed to go. But when he befriends the new girl in his class (Zamand Hägg), his life starts changing in a few ways. If some of these elements sound familiar, that’s because you’ve seen other movies. But just because this film borrows cliches from other ones doesn’t mean it’s bad. In fact, I’d argue the story here is pretty good, with writing that takes the cliches and uses them in charming and enjoyable ways. There’s a lot of times when our main character has really vivid dreams, both in the middle of the day and during the night, which serve to not only develop him as a character, but also further the plot and also entertain. And it helps make the storytelling here feel fresh and fun. There are one or two moments in the story that maybe don’t fit too much, since they push the suspension of disbelief a bit too much, but overall I really liked the story here.

The characters in this are colorful, fun, and at times surprisingly nuanced. Sure, they all might seem like walking cliches at first. But as the story moves on, we see most of them get some decent development that makes them endearing and likable. And the cast, which features people like Ariel Petsonk, Zamand Hägg, Michael Nyqvist, Anna Pettersson, Ralph Carlsson, Pontus Stenshäll, and more, all do pretty well in their respective roles.

The music in this movie is based heavily in a lot of pop tunes, which I guess is used to help add to the overall fun tone of the movie. I’m not saying all of them 100% fit all of the time, but I also don’t think any of the tracks ruin the mood at all. The songs work fine.

“We Can Be Heroes!” was directed and edited by Ulf Malmros, and I think he did a damn good job. The way he shoots a scene is energetic and fast-paced, while still allowing for some of the more quiet scenes to nicely simmer. And man, the editing is really good too. Malmros knows when to make perfect cuts and how to nicely transition between reality and Marcello’s dreams. The craft here is really good. And since this is a comedy (despite imdb not acknowledging it), how is the humor? Fucking funny. It’s charming, it’s silly, it’s cute, it’s even a little brash at times… and most of it made me laugh.

On Rotten Tomatoes it exists with no rating. And on imdb.com it has a score of 5,8/10.

“We Can Be Heroes!” had a bit of an uphill battle with me, being both from my own home country and a children’s film. But god damn, it managed to win me over. It’s a charming little comedy about finding yourself. It has a good plot, really good characters, really good performances, pretty good music, great directing/editing, and funny comedy. Time for my final score. *Ahem*. My final score for “We Can Be Heroes!” is an 8,89/10. So I’d definitely say it’s worth buying.

My review of “We Can be Heroes!” is now completed.

Things are starting to look up.

Movie Review: House of Angels (1992)

The Summer of the Swedes continues.

Ladies and gentlemen… “House of Angels” (Original title: Änglagård).

When an elderly man (Per Oscarsson) passes away very suddenly, his granddaughter (Helena Bergström) and her boyfriend (Rikard Wolff) inherit and move into his old mansion. And the arrival of this somewhat bohemian couple starts stirring quite a few emotions within the village. The setup is one we’ve kind of seen before, and it’s one I have no problem with seeing, because it’s a fun setup. And while there are some enjoyable moments throughout this film’s narrative, I overall find it lackluster. Any time you see a hint of conflict to add drama, it finds a way to resolve itself before anything genuinely interesting has a chance to kick off. This makes the story feel very inconsequential. What doesn’t help it either is an ass-draggingly slow pace. I don’t mind a slow pace, as long as there’s something actually happening to add to the story (See stuff like “The Godfather”). So when you combine an inconsequential narrative with a drawn out pace, you get an experience that isn’t very fun to follow along with. Like I said before, there are a few fun moments throughout, but the overall package that is this movie’s story just feels very underwhelming.

The characters in this are all wandering cliches, with some of them handling it better than others. Helena Bergström plays Fanny (don’t laugh, it’s an actual name), a young and ambitious woman working to renovate her new home, all while trying to be friends with people in the village and still being herself. It sounds layered, but it’s not. Again, no conflict, no character development. She’s a blank, friendly slate throughout the entire thing. I’ll give her this at least, Helena Bergström is okay in the role. I am generally not a fan of her, but she did an alright job here. Then we have Rikard Wolff as Zac, Fanny’s boyfriend. He’s a man of few words, a cool as ice biker dude with a background as an artist. And while he doesn’t do too much in the story, he at least has a sense of cool that I enjoy watching. And Wolff is good in the role. We also get supporting work from people like Sven Wollter, Reine Brynolfsson, Ernst Günther, Viveka Seldahl, Per Oscarsson, Jakob Eklund, and several others, all doing quite well in their respective roles (even if their characters feel a bit hollow).

The score for the movie was composed by Björn Isfält, and it was alright. If you’ve seen other movies set in these sort of rural parts of Sweden, you have heard this sort of idyllic, old school kind of music before. It’s a certain sound that I haven’t really hard in movies from other countries, which I find interesting. Anyway, it’s an alright score that works fine for the movie.

“House of Angels” was written and directed by British expat Colin Nutley, and I think he did an alright job with it. While his direction can’t save the ass-dragging pace or underwhelming story, I do think that it still manages to give some level of watchability to proceedings by being visually pleasing and actually somewhat competent.

This movie has gotten some mixed (but mainly positive) reception. On Rotten Tomatoes it has an 80% positive rating. And on imdb.com it has a score of 6,3/10.

While other people seem to like it, I found “House of Angels” to be an uneventful slog to get through. It has a boring plot, hollow characters, good performances, fine music, and pretty good directing. Time for my final score. *Ahem*. My final score for “House of Angels” is a 4,99/10. So even if there’s some good elements to it, I’d say skip it.

My review of “House of Angels” is now completed.

Summer of the Swedes is off to a rocky start…