Roger is a human resources manager in a large company and has a wonderful home and a beautiful wife, Dian who owns an art gallery. But he lives in greater luxury than he should. In order to continue this, he has a second job; art theft. Diana introduces him to Clas, a former executive for GPS tech company, who wants to work for Pathfinder, whom Roger is recruiting for. In addition to being the perfect candidate for the job at Roger's company, he is the owner of a very valuable painting. Roger seeks the opportunity and immediately begins to plan his greatest hit. But what Clas encounters in his home will put him in a very difficult way to return.
Greve's dog is a Dogo Argentino. This breed is considered dangerous and banned in Norway. See more »
After Roger Brown has pulled Ove from the lake and they both are in the car, driving to Ove's place, Ove is still dizzy and disoriented and keeps falling on Roger's shoulder. At one point, Roger pushes him away, Ove pukes a little, and then you see a hand pat Ove on the shoulder. That hand came from back seat, and doesn't belong to either Roger or Ove. See more »
Rule #1: Make sure you know everything about those you visit. 2: Never spend more than 10 minutes. Every extra minute increases the chance of someone returning home unexpectedly. 3: Do not leave DNA traces. 4: Don't waste time getting an expensive reproduction. Even a simple forgery will go unnoticed for weeks. 5: Sooner or later, one of two things will happen. You find a work of art so valuable that you never need to worry again, or... you'll get caught.
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The cut-throat world of Norwegian recruitment consultancy...
Touted as the next Stieg Larsson (or if you prefer, Norway's answer to Sweden's other major literary export, Henning Mankell), Jo Nesbo's Headhunters had already been earmarked for a (no doubt inferior) US remake before it was even released overseas.
Roger Brown (Aksel Hennie) is a 168cm recruitment consultant with a big house, a beautiful wife and an inferiority complex that drives him to moonlight as an art thief. The prosaically named protagonist is no Thomas Crown - he steals to keep a (wildly overleveraged) roof over his head and only pockets a measly 30% of the revenue from his ill-gotten gains. Even his appearance is counterintuitive - more bug eyed Steve Buscemi than suited and booted Bond. Even so, there's more going on here than meets the eye, but suffice to say that his real troubles start when he decides to go after The Big One - the retirement score that will put an end to his financial troubles and allow him to keep his ridiculously attractive wife in the style to which he's become accustomed.
To say anything more about the plot would be superfluous, but I will take a moment to admire the confidence of the director Morten Tyldum. Headhunters is, in a sense, typically Scandinavian - stark, brooding and with as much silence as dialogue. The style here serves the substance - the camera is often completely immobile, forcing the audience to concentrate on what's going on, a complete contrast to the craftsmanship/gimmickry more typical of glossy mainstream thrillers coming out of the US. Rather than spoonfeeding the audience every single clue, Headhunters isn't afraid to lead the unwitting watcher on a merry dance. Naturally the whole enterprise rests on the small but perfectly formed cast, particularly Hennie, with whom we slowly come to empathise, and the more typically suave Nikolaj Coaster-Waldau as the former exec with a murky past.
If Headhunters has a particular weakness, it's that it spends most of its time descending into increasingly dark (and occasionally graphically violent) territory, while occasionally veering into light hearted caper. This does feel slightly bewildering, but to be honest, it's a relative minor criticism. Headhunters is definitely worth catching (particularly given the woefully slim pickings over the past few months), if not now, then 6 months from now when it premieres on Film Four in the middle of the night. Scandinavians (and cinéastes with a penchant for Northern European film) may be used to this kind of thing, but for the rest of us it's a wonderfully welcome arctic blast through the land's tat filled cinema screens.
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