Isle of Darkness

In the mediocre world that is Norwegian Cinema, Mørkets Øy fits in well with its token plank actors, amateur cinematography (it is SOO obviously not night in that last boat sequence...did they use blue overhead paper on the lens or something?) and contrived "cool" story. The only good thing in the film is the locations, so cudos to the location scout. If you want to see a good Norwegian film, watch "Junkmail" instead.

How can anyone compare this to Chris Carter? He is "the real deal" and this film is a terrible, terrible copy. You won't get any chills from seeing this - you'll want to turn it off very soon.

A drama with some tense moments and a gripping climax. When Julie, a Danish school-teacher takes on a new job on a small Norwegian island, she discovers that the god-fearing islanders and their crazy vicar hide a dark secret. It seems that past students at the school have committed suicide. Julie starts to piece together bits of information despite the fact that the church members tend to shun her believing that the devil sent her to their island. This air of mystery is well-developed. Like all good thrillers it is difficult to point a finger at the guilty party although one does have some strong suspicions fairly early on. But is it a red herring? A man carrying an axe, shadowy cellars and faces suddenly appearing unexpectedly at unlocked doors add to the general spooky atmosphere. But this is nothing compared with the closing scenes when Julie exposes the perpetrator and the secret is revealed. The chase which follows and the escape by boat is truly exciting....real edge of the seat stuff! In fact it's enough to put you off teaching as a profession, and the church as depicted in this film is not particularly inviting either.

A thriller should be exciting and suspenseful - and this isn't. Sofie Gråbøl is over-acting and the direction doesn't work at all.

One of the most annoying movies I have ever seen. The first half looks like it could develop into a good psychological thriller of frightening atmosphere. But the following changes are just full of clichés - the fanatic priest, the bigoted community, the colour red, abuse and violation of the women through the priest (and the other men looking away) as the dominating motive. But last and least cause of anger is the final chase: Every turn is a stereotype insult of the spectators. Maybe that's a cliché by myself - but the movie looks to me like a female imagination of so-called male obsessions. The first movie I voted 1 of 10.