VALUTAZIONE IMDb
7,2/10
33.829
LA TUA VALUTAZIONE
L'ispettore di polizia Carl Mørck è incaricato di un dipartimento di vecchi casi, affiancato solo dal suo assistente, Assad. Cercano un caso su una donna scomparsa.L'ispettore di polizia Carl Mørck è incaricato di un dipartimento di vecchi casi, affiancato solo dal suo assistente, Assad. Cercano un caso su una donna scomparsa.L'ispettore di polizia Carl Mørck è incaricato di un dipartimento di vecchi casi, affiancato solo dal suo assistente, Assad. Cercano un caso su una donna scomparsa.
- Premi
- 3 vittorie e 21 candidature
Anne Bærskog Hauger
- Viggas Rasmussen
- (voce)
- (as Anne Hauger)
Patric Lindström
- Serveur de comptoir
- (as Patric Neves Lindström)
Trama
Lo sapevi?
- QuizFares Fares, who lives in Sweden, had to learn Danish for the role of Assad.
- BlooperThe leader of the sanitarium tells the two main characters that Uffe was 8 years old when he had his brain injury in the car accident. But we are also told that Uffe was born on the 10th of may 1982 and that the accident, that gave Uffe his brain injury, happened on the 23rd of December 1988, making Uffe 6 when he got his brain injury.
- ConnessioniFeatured in Dansk films bedste: Børneliv og På kant med loven (2022)
- Colonne sonoreSummer Dresses
Written by Jeroen van Olffen (as Jeroen van Olffen)
Performed by DJ Come of Age featuring Cecilia Stalin
Recensione in evidenza
The latest in a long (endless?) line of fine Scandinavian police thrillers, The Keeper of Lost Causes (Kvinden I buret to give it its Danish title) is a taut, thrilling cop drama that compels and seizes the interest for the duration of its 97 minute running time.
In the aftermath of an ill-fated mission that leaves one colleague dead and another seriously injured, police inspector Carl Mørck (Nikolaj Lie Kaas) is bumped from his department and tasked with setting up Department Q, a dead-end desk job that requires him to spend the next few years ensconced in a dusty basement with a new partner, Assad (Fares Fares), tying up the loose ends on old cases. Instructed to close three cases per week, Mørck and Assad begin with the investigation of a politician, Merete Lynggaard (Sonja Richter) who disappeared five years previously. Written off as a suicide, Mørck is determined to prove there is more to the case and delves into a murky case of abuse, murder and kidnapping.
With both Kaas and Richter alumni of the original series of The Killing, and Fares a star of both Easy Money and Zero Dark Thirty, the central trio makes for a very solid human triptych, even if displayed as separate components (he wrote carefully, determined not to lead or hint or give anything away). The relationship between Mørck and Assad, particularly, is a sufficient variation of the 'cop buddies' partnership to make it feel new. Both policemen have their foibles, their differences and their similarities; Mørck is out of favour, Assad has been trusted with something vaguely resembling a promotion, Mørck is silent and brooding, Assad celebrates his new found 'freedom' with ear-bleeding music, Mørck is a battering ram, Assad invests time to achieve his results
As an aside, The Keeper of Lost Causes succeeds magnificently in portraying a Muslim character in a positive light in a film that isn't about that issue. Assad could be anyone; he just happens to be a Muslim.
Though The Keeper of Lost Causes will invariably be compared to The Killing, it is closer in tone to the thoughtfulness of Wallander and the cynicism of French series Spiral and is spiced with the dark violence of Larsson's Millennium trilogy. There is humour within the gloomy folds of this thriller but it is cold and cynical as befits a yarn of kidnap and murder.
I saw much of the outcome in the first fifteen minutes of The Keeper of Lost Causes but it was a still an electrifying journey that has a great deal to celebrate, not least of all a sublime accident sequence. Think 'ballet with cars' and you're getting close.
Like all good thrillers, The Keeper of Lost Causes works on the terror factor that it could happen. We don't tend to believe in zombies and vampires, although I'm up for a short-term zombocalypse armed with a crossbow and a katana, but humans with a vindictive streak and a penchant for malevolent revenge? Yep, they're far too real to ignore.
The Keeper of Lost Causes is a rare treat for another reason: it clearly sets itself up for a sequel and director Mikkel Nørgaard has duly obliged with the second adaptation of author Juss Adler-Olsen's novels, The Absent One (Fasandræberne), released in Denmark this autumn.
Roll on the end of the summer!
For more reviews from The Squiss, subscribe to my blog and like the Facebook page.
In the aftermath of an ill-fated mission that leaves one colleague dead and another seriously injured, police inspector Carl Mørck (Nikolaj Lie Kaas) is bumped from his department and tasked with setting up Department Q, a dead-end desk job that requires him to spend the next few years ensconced in a dusty basement with a new partner, Assad (Fares Fares), tying up the loose ends on old cases. Instructed to close three cases per week, Mørck and Assad begin with the investigation of a politician, Merete Lynggaard (Sonja Richter) who disappeared five years previously. Written off as a suicide, Mørck is determined to prove there is more to the case and delves into a murky case of abuse, murder and kidnapping.
With both Kaas and Richter alumni of the original series of The Killing, and Fares a star of both Easy Money and Zero Dark Thirty, the central trio makes for a very solid human triptych, even if displayed as separate components (he wrote carefully, determined not to lead or hint or give anything away). The relationship between Mørck and Assad, particularly, is a sufficient variation of the 'cop buddies' partnership to make it feel new. Both policemen have their foibles, their differences and their similarities; Mørck is out of favour, Assad has been trusted with something vaguely resembling a promotion, Mørck is silent and brooding, Assad celebrates his new found 'freedom' with ear-bleeding music, Mørck is a battering ram, Assad invests time to achieve his results
As an aside, The Keeper of Lost Causes succeeds magnificently in portraying a Muslim character in a positive light in a film that isn't about that issue. Assad could be anyone; he just happens to be a Muslim.
Though The Keeper of Lost Causes will invariably be compared to The Killing, it is closer in tone to the thoughtfulness of Wallander and the cynicism of French series Spiral and is spiced with the dark violence of Larsson's Millennium trilogy. There is humour within the gloomy folds of this thriller but it is cold and cynical as befits a yarn of kidnap and murder.
I saw much of the outcome in the first fifteen minutes of The Keeper of Lost Causes but it was a still an electrifying journey that has a great deal to celebrate, not least of all a sublime accident sequence. Think 'ballet with cars' and you're getting close.
Like all good thrillers, The Keeper of Lost Causes works on the terror factor that it could happen. We don't tend to believe in zombies and vampires, although I'm up for a short-term zombocalypse armed with a crossbow and a katana, but humans with a vindictive streak and a penchant for malevolent revenge? Yep, they're far too real to ignore.
The Keeper of Lost Causes is a rare treat for another reason: it clearly sets itself up for a sequel and director Mikkel Nørgaard has duly obliged with the second adaptation of author Juss Adler-Olsen's novels, The Absent One (Fasandræberne), released in Denmark this autumn.
Roll on the end of the summer!
For more reviews from The Squiss, subscribe to my blog and like the Facebook page.
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- Budget
- 5.000.000 € (previsto)
- Lordo in tutto il mondo
- 13.656.380 USD
- Tempo di esecuzione1 ora 36 minuti
- Colore
- Mix di suoni
- Proporzioni
- 2.35 : 1
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By what name was Carl Mørck - 87 minuti per non morire (2013) officially released in Canada in French?
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