Pusher II

'Pusher II (2004)' follows Mads Mikkelsen as Tonny, a side-character from Pusher '(1996)', as he once again exits prison and tries to earn his father's respect by stealing cars for his dodgy business. As he begins to adjust back to non-incarcerated life, he comes to discover that he himself may have a son. The film can be easily watched without having seen its predecessor, despite the fact that it features a couple of the same characters and makes one or two references to that prior title's plot. It's quite a bit different from that movie, too. It isn't an exercise in ratcheting tension and increasing desperation, rather it's a relatively introspective drama about fatherhood and, more specifically, the central character's relationship to it. He strives for a connection with his cold and uncaring dad, while struggling to reconcile his own responsibility to the child he may or may not have fathered. Ultimately, it's about breaking the cycle of apathy that has trapped the fairly unintelligent protagonist in a world of small-time crime, emotional (and physical) impotence and an absence of love. Of course, the flick still deals with bad men who do bad things (particularly to women) and get paid for it, but there's an aspect of tenderness - however subtle or, even, intangible it may be - that makes this story much more affecting than it otherwise would be. As such, it's an experience that will stay with you for longer than 'Pusher (1996)' and, for my money, that makes it better. The movie isn't always especially compelling, primarily because its pacing drags a little here and there, but it's always entertaining enough to keep you engaged. It's also varied in terms of tone, often going from dark comedy to poignant tragedy and back again, which keeps you on your toes and prevents any significant boredom. The picture feels cohesive overall, with a solid understanding of its themes and the patience required to really hammer home its emotional elements. Even though it may seem like a brash crime saga on the surface, it's actually a rather considered art film that sneakily delivers a surprisingly solid character study. Mads Mikkelsen is superb in the starring role, subtly portraying a litany of emotions often without even saying a word. Overall, this is a considered and affecting picture that makes you care about its protagonist despite his sometimes brutish nature.

I have learned that people criticize PusherII for not having the same high pace as the first pusher movie did. It is important not to expect more of the same if you have chosen to watch pusherII. The first pusher movie concentrates on, and describes the drug dealer Frank. Pusher II, follows Franks former partner Tonny. He's the one being beaten by Frank with a baseball bat in pusher. Tonny and Frank are to very different personalities and the story being told in PII is very different from the story in the first Pusher so it is impossible to recreate the same pace and feeling. Luckily Nicholas Winding Refn is'nt trying to repeat history, he has made a whole new movie, which is entirely it's "own". PusherII is a fascinating and frightening story of Tonny the lowlife and his slow climb towards a meaningful life. PusherII equals the first Pusher.

Dedicated to Hubert Selby Jr., Pusher II moves in the familiar territory of the New York writer, night scenes populated by strippers, drug addicts and hopeless petty criminals. Unlike Last Stop Brooklyn, and the first movie in the trilogy, Pusher ends on a high, pun not intended, with a glimmer of hope to illuminate the Scandinavian night that most of this movie seems to embrace.

Eight years have gone by since Frank from Pusher broke Tonny's head with a baseball bat. Frank is now gone, and Tonny, the eternal screwup, seeks criminal success working for the big boss himself: his father. What he finds of course is deceit, empty violence, cocaine-fueled failures of all kinds.

Even when seeking redemption in a loveless world Nicolas Winding Refn's characters are still unable to talk except that with fists or knives, unable to act or to stop acting if not by chemically quelling one's fears. This movie is less violence, but perhaps even scarier than Pusher II. It is because of the absolute absence of human empathy or maybe just because is a little bit of Tonny in all of us.

As a fan of all of Winding Refn's movies, this is up there with Pusher (1) and Bronson. A painfully realistic picture of the Scandinavian crime underworld, with very few winners and many, many losers ruining their lives. This movie does not hold back on anything - it's not the Hollywood glorifying tale about "career criminals" - it shows the reality of this life, with no honour and so many betrayals. Tonny is a character from the first Pusher movie, this time just out of a jail sentence, returning to his former associates, with no money, no real friends and no assets whatsoever, seeking refuge at his crime boss father, who has always despised him and humiliated him.

Desperate to make some kind of livelihood and impress his dad, "Smeden", he turns to some old companions, only to find betrayal in return. He's not "tough enough", more sensitive and unsecure than others in his crowd, and pays a heavy price for it. There's no winners or losers here; It's the real world, and it will leave you emotionally drained after seeing it, but if you are looking for a realistic depiction of a modern criminal's haunting, gruesome and stressful life - look no further.

After Refn made an unsuccessful English-language debut with 2003's "Fear X," he returned to Denmark to shoot parts two and three of "The Pusher Trilogy." But the new films aren't a continuation, and the layoff didn't dull Refn's ability to tell an engaging crime story. In "Pusher 2: With Blood On My Hands," the film explores a drug-dealer's former sidekick as he deals with new challenges in the world of crime, drugs, and becoming a father.

Frank's ex-sidekick from the first film, Tonny, wonderfully played by Mads Mikkelsen is fresh out of prison. Tonny is eager to prove his worth as earner and son to his crime boss father (Leif Sylvester Petersen), known as the Duke. Routinely called a loser by everyone he knows -- he practically invites abuse by sporting a tattooed "respect" on the back of his bald head. Tonny also tries to ingratiate himself with his recalcitrant father (Leif Sylvester Petersen), who can hardly trust him with anything. The back-breaking straw is the appearance of a baby that Tonny's old non-girlfriend (Anne Sorensen) claims is his. The bitterness and betrayal mounts as Tonny begins to wonder if he should rewrite his life, and the fate of the neglected infant.

At its core, the film about is about broken families and serves as a stark reminder of the lasting effects on our actions can have on future generations. Tonny's entire life has been spent on only one thing: trying to gain the approval of his father. And not only that he learns on his release that he is very likely the father of a baby boy, one so neglected by his junkie mother that he hasn't even been given a name yet. Refn is painting a bleak picture of a child without a chance. He is in complete control behind the camera, but this film belongs purely and simply to Mikkelsen. He is absolutely stunning, flawlessly embodying the insecurities and desire that drives Tonny. Against all odds, Tonny becomes a sympathetic hero in an increasingly tragic tale. It's not hard to spot the need that drives his self-destructive behavior: it's practically written all over his face - or at least the back of his head.