Boundless

I looked forward to see this movie. Hoever I was soon felt let down. Ulrich Thomsen is one of my favoirte actors is feels plays more confused than in character. The person playing assad is like a meaningless background character in the book is interesting and has humour. Assad in the moive adds nothing to the movie and is completely emotionless not even a camal joke. I guess the creators thught that humour was lame and did not want it. Rose in the book was also a bit wierd and interesting. In the movie is she is also very dull.

Without any spoilers the plot feels forced.

Also the sex scenes feels like they hold back go all in if you include it.

All in all I don't understand if Jussi Adler Olsen thought it was better to use those actors than Lie Kaas they had humour that could lift the story. But this is not the high standard it could be.

Once again, the lead actors in the movie have been replaced with some new ones. Rose has become more hardcore and less charming. Not sure if it's part of wokeism.

The movie contains a completely irrelevant scene where a janitor harasses Rose and she practically rips his balls off. The scene has nothing to do with anything.

This movie is the worst in the Department Q series. I miss more twists and surprises, and I miss more investigative work in the film. If this is the standard for the upcoming Department Q films, then I won't be looking forward to the next ones in the series.

"Fasandræberne" is still the best Department Q film.

I was glad that the Department Q series continued, but of course, I also had to adjust to the absence of the familiar duo. Four films are quite a lot, they create a sense of familiarity. At the same time, I like Ulrich Thomsen. He belongs to the same creative circle, and it fit naturally into the picture that our protagonist had simply aged. It was only afterward that I read the author had wanted to steer the whole thing in a new direction because he found the series too action-oriented. He criticized the simplified storytelling, the more superficial character portrayal, and the weaker presence of black humor. Instead, he specifically wanted a more subtle, slower-unfolding narrative.

I understand this - with some restrictions. After all, there were already two-hour-long earlier episodes, and Fares Fares was particularly strong in providing humorous counterpoints. The new Assads, on the other hand, barely had any role at all. But as for Mørck, I found him just as fine now as before.

I watched this, the sixth installment, before the fifth, and it didn't surprise me-it fully delivered the oppressive, downright disturbing story I expected. Yes, in these films, the source material is crucial, so talking about them means talking about the story. And here, there's everything-perhaps even too much: a cult, a revival of an Egyptian ritual, the dark web... At the same time, the emphasis on the omnipotence of art and the boundaries of its legitimacy was strong, which I liked. However, the film's synopsis claims that the threads lead back to Mørck's past-this, above all, felt excessive to me. Forced. But then, I also thought-why not?

As for humor-of any shade-I didn't find any. The whole thing was too realistic for that. Darkness settled over everything, and it's almost a miracle that the investigators even found their way back from it.

Regarding the supposed action-heavy nature of the previous films, there was no hesitation in the plot twists here either, that's for sure. I have to admit, the thought crossed my mind: could it be that the writer felt most familiar with SVK's character above all?

Unless there's anyway we can eject author, Jussi Adler-Olsen (from further involvement), and reinstate Zentropa, and, more specifically, Nikolaj Arcel, to Department: Q's cinematic universe again... then this'll probably be my last one.

Adler-Olsen is churlish and triflin; like Stephen King when he didn't agree with Kubrick's interpretation of The Shining (1980).

Afshin Firouzi is an improvement over their last Assad -- even if he's little more than an exposition-absorbing sidekick here; But now it's as if Ulrich Thomsen has realized these new D:Q installments won't live up to their predecessors, because whatever progress Thomsen initially demonstrated in 2021's Marco has faded and is just lackin now.

Really, Rose (Sofie Torp) is the principle sidekick here, since she's allotted the most screen time/dialogue (after Thomsen). She performs ably, but her arc is pedantic and at times antithetical (to her character development).

There are at least two characters whose development is marooned to the film's first half.

Most unfortunate is the story: the premise is intriguing and ultimate-reveal is equally appealing, but the execution is hopelessly rote (they're plainly trying to pantomime Fincher with only Joel Schumacher swagger). The first four films easily demonstrate some of the best procedural facets (of the sub-genre), while still facilitating convincing cold case thesis or agreeable whodunit subplots, but the author has gone out of his way to wipe the slate and insist on cinematic universe-dover (with these last six properties). Unfortunate, these later entries aren't worth your time (and hopefully won't be here for long).

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It's only appropriate Netflix is distributing Adler-Olsen's US adaptation, because these (Marco Effect, and now, Boundless) definitely aren't worthy theatrical exhibition (unlike his first four films, e.g. Under Arcel's pen and Zentropa's oversight).

Detective Carl Mork (Ulrich Thomsen) and his cold case department are back in action in this sixth installment for the big screen of the successful novels by Jussi Adler-Olsen and script written by Jakob Weis. The department has to investigate the death of a young girl who was hit by a car, named Alberte. The case that was falsely closed as a traffic accident is reopened when Christian Haabersat (Peter Mygind) , an old friend and colleague of Carl Morck from his years at the police academy, commits suicide in front of the guests at his farewell party, haunted by the memory of Alberte. The killing, officially written up as a traffic accident, has connections to both the local Police precinct and a cult of sun worshipers from where young women have vanished without trace for years. Mørck must solve the case and confront his past to move forward with his fiancée. Along the way, Rose (Sofie Torp) is tasked with finding the connection of some murders to a weird cult. It's not long before she's on the run from those who intend to kill her because of what she knows.

Police thriller in the purest Nordic style with strong suspense, emotion, plot twists, action enough, and including a dark photography. Ulric Thomsen gives a decent acting , he's a prestigious actor with a long career that includes both cinema and TV, such as: The good traitor, Ambassador Kauffman, Face to face series,Brothers, Celebration, , Blacklist and Banshee series, he once again plays the tough investigator Carl Morck. Ulric was already the protagonist of the fifth installment of the saga, on this occasion he has to investigate the death of a girl who was found hit by a car and dead on a tree.

In this sixth installment, the people in charge of giving life to the brave and surly Carl Morck is Ulrich Thomsen and his faithful assistants change, being now played by the unknown: Sofie Torp as Rose and Afshin Firouzi as Assad. This film adapts a successful novel, ¨Den Grænseløse¨, the sixth and best-selling book written by Jussi Adler-Olsen, to the big screen. This procedural thriller is uneven but professionally directed by Ole Christian Madsen and has a script by Jakob Weis, replacing Nikolaj Arcel, who had written the storyline for the four previous novels and adapted the first installment of 'Milennium', another of the most important Nordic sagas in history. Director does it European way, showing sharply in the dark cinematographic approach within the story.

This is the sixth adaptation, most of them concerning a relentless search and murder investigations carried out by the members of the Q Deapartment that take them deep into the undercurrent of corruption, abuse, ambition, greed and malice that hides beneath the surface of the prosperous Scandinavia. The first of sextet starred by the great protagonists Nikolaj Lie Kaas and Fares Fares who signed a four-film deal, matching the number of Department Q novels written by Jussi Adler-Olsen that had been published at the time of filming. The saga is as follows: ¨Kvinden i buret¨ or ¨The Guardian of Lost Causes¨ (2013) by Mikkel Nørgaard with Nikolaj Lie Kaas, Fares Fares, Sonja Richter. ¨Fasandreperne¨ or ¨Pheasant Killers¨ (2014) by Mikkel Norgaard with Nikolaj Lie Kaas, Fares Fares, Pilou Asbæk. ¨Flaskepost fra P¨ or ¨A Conspiracy of Faith¨ (2016) by Hans Petter with Nikolaj Lie Kaas, Fares Fares, Pål Sverre Hagen, Amanda Collin. ¨Diario 64¨ or ¨The Purity of Revenge¨ (2018) by Christoffer Boe with Nikolaj Lie Kaas, Fares Fares, Johanne Louise Schmidt, Søren Pilmark. Despite being extremely succesful both critic and public, author Jussi Adler-Olsen was unhappy with the adaptations of the first four novels of the series and thus entrusted the film rights to the next books to another production company, resulting in the change of cast in this latter: ¨Marco effekten¨ or "The marco effect¨ (2021) by Martin Zandvliet with Ulrich Thomsen as Carl Mørck and Zaki Youssef as Assad.