Reviews

Tom Selleck shines on the screen as Peter Mitchell, one of the three men unexpectedly entrusted with caring for a baby. Selleck's charisma and wit bring a magnetic quality to his performance, making him a standout in the film.

Alongside Selleck, Ted Danson portrays Jack Holden, and Steve Guttenberg takes on the role of Michael Kellam. The chemistry among the trio is evident, creating a strong foundation for the comedic moments in the movie. Their interactions and camaraderie give the film an enjoyable and lighthearted dynamic.

One of the movie's charms lies in its 80s setting. The fashion choices, hairstyles, and overall aesthetics transport viewers back in time, offering a nostalgic experience. It's a treat to witness the fashion trends and cultural references that defined the era, allowing audiences to indulge in a sense of nostalgia while watching the film.

Additionally, "Three Men and a Baby" incorporates a side plot involving a drug package that gets mixed up with the baby's belongings. While this subplot doesn't contribute significantly to the overall story, it does give the characters something additional to contend with, adding a layer of intrigue and creating opportunities for comedic mishaps.

Despite the premise of men taking care of a baby seeming somewhat outdated by today's standards, the movie remains enjoyable due to the combined talents of Selleck, Danson, and Guttenberg. Their performances, along with the nostalgic 80s setting and fashion, contribute to the film's overall charm. While the drug side plot may not be central to the story, it adds an element of excitement and provides the characters with a quirky adventure.

"Elsker dig for tiden" is a delightful Danish film that beautifully captures the complexities of being in a relationship that defies expectations. With stellar performances and a fresh perspective, this romantic comedy deserves 8 out of 10 stars.

Anna and Thomas's initial encounter is far from love at first sight, but as their story unfolds, we witness their journey through a stormy romance filled with everyday challenges and personal crises. What sets "Elsker dig for tiden" apart is its ability to deconstruct traditional romantic comedy tropes and infuse them with a Danish context that feels relatable and authentic.

Julie Rudbæk delivers a remarkable performance as Anna, blending humor and vulnerability with ease. Jesper Zuschlag shines in his supporting role as Thomas's carpenter colleague, adding comedic brilliance to the film. Their on-screen chemistry is a joy to watch.

The film explores themes of infidelity, fear of being alone, and the complexities of love, challenging societal norms and preconceived notions about relationships. It offers a thought-provoking and refreshing take on modern romance.

With its visually captivating depiction of Copenhagen and enchanting cinematography, "Elsker dig for tiden" creates a sense of wonder and magic. The film effortlessly blends romance, comedy, and introspection, resulting in a unique and engaging cinematic experience.

In conclusion, "Elsker dig for tiden" is a groundbreaking Danish romantic comedy. With its exceptional performances, genuine portrayal of relationships, and captivating storytelling, it leaves a lasting impression. Don't miss this delightful film that captures the complexities of love beyond expectations.

"Esthers Orkester" is a Danish film that, despite its whimsical and rhyming title, fails to strike a balance between social-realistic family drama and quirky comedy. Directed by Alexander Sagmo and starring Annika Aakjær, the film revolves around the themes of loss and grief, but it struggles to find its footing amidst mixed signals.

The movie follows Esther (Annika Aakjær), a comic book writer, and Thomas (Johannes Lilleøre), an illustrator, in two parallel storylines depicting the first and last days of their relationship. In the flashback narrative, Esther, an eccentric and assertive woman, meets Thomas after a meeting at a publishing house. She impulsively chooses him to collaborate on their new joint project, a dark children's comic book called "Esthers Orkester" about death.

Thomas, a dry and hard-to-understand character, initially resists Esther's persistent and peculiar advances into his life. However, he eventually shows up at her doorstep with a bottle of wine. This encounter leads to an awkward scene where he pretends to be a plumber in front of Esther's parents (Ulf Pilgaard and Stina Ekblad).

The tone of this storyline is quirky and nonsensical, with scenes that lack coherence and purpose. Although some moments elicit occasional amusement, the exchanges between the characters are drawn out and lack momentum. Annika Aakjær, a talented comedian, showcases her charm, but the character of Esther remains underdeveloped. She serves as a manic pixie dream girl archetype, rescuing the inhibited Thomas. It is inconsistent that Esther behaves without inhibitions at the publishing house but fails to inform her parents about Thomas' involvement in her comic book, abandoning him and subsequently berating him.

The motivation behind the eventual marriage between Esther and Thomas is unclear and unconvincing.

Fortunately, the present-day storyline fares better and provides a more engaging experience. In this part, we follow Thomas as he struggles to hold things together at home with their two daughters while Esther is hospitalized. The film captures a tragicomic tone amidst the chaos that Thomas navigates while grieving for his wife. The youngest daughter, April (Holly Filipsen), tries to avoid going to kindergarten, and the moody teenager, Tessa (Emma Pi), slams doors in frustration. We witness Thomas' understandable helplessness, the girls' unhappiness, and the family's resilience, which becomes genuinely moving.

The flashbacks of the first encounter between Esther and Thomas are unnecessary, as it is evident that Esther is a unique character and that losing a wife and mother is difficult.

In summary, "Esthers Orkester" is a film that struggles to find balance between comedy and tragedy. It presents a mix of signals, attempting to blend social realism with quirky comedy but ultimately falling short of its potential. Although the present-day storyline captures a poignant and humorous tone, the disjointed flashbacks and underdeveloped characters hinder the film's overall impact.

Kærlighed ved første hik is a delightful Danish teen comedy that captures the awkwardness and excitement of first love. Directed by Tomas Villum Jensen and based on Dennis Jürgensen's popular youth novel, the film takes us on a journey with Viktor, a shy and clumsy high school student, as he navigates the challenges of pursuing his crush, the beautiful and popular Anja.

Robert Hansen delivers a heartwarming performance as Viktor, portraying the character's endearing vulnerability and determination. Sofie Lassen-Kahlke shines as Anja, capturing both her charm and complexity as a teenage girl torn between different romantic interests. The chemistry between the two leads is genuine and makes their evolving relationship engaging to watch.

The film cleverly combines humor and romance, resulting in many amusing and relatable moments. Viktor's relentless hiccups become a recurring gag, adding a lighthearted touch to the story. The supporting cast, including Joachim Knop, Mira Wanting, Karl Bille, and Jonas Gülstorff, brings additional humor and depth to the narrative, enhancing the overall entertainment value.

The exploration of teenage sexuality is handled with care and honesty. The conversations between Anja and her best friend Gitte about sex are refreshingly open and candid, reflecting the curiosity and curiosity of adolescents. The film approaches these topics with a level of maturity, highlighting the characters' desire to explore their emotions and desires while also emphasizing the importance of communication and consent.

Visually, the film captures the nostalgic atmosphere of the late '90s, immersing viewers in a time when technology was less prevalent and personal interactions were paramount. The cinematography by Dirk Brüel effectively captures the youthful energy and vibrant spirit of the characters, complemented by a lively soundtrack from Jeppe Kaas and Innocent Blood.

Kærlighed ved første hik's success led to a series of sequels, further exploring the endearing relationship between Anja and Viktor. This initial installment, however, remains a standout entry, capturing the innocence and excitement of young love.

In sum, Kærlighed ved første hik is a charming Danish teen comedy that successfully blends humor, romance, and relatable coming-of-age experiences. With its lovable characters, heartfelt performances, and witty storytelling, the film offers an enjoyable and nostalgic cinematic experience for audiences of all ages. Whether you're a fan of teen comedies or simply looking for a heartwarming and entertaining movie, Kærlighed ved første hik is definitely worth a watch.

Styrmand Karlsen is a comedic adventure filled with good songs and cheerful moments, but its enjoyment is marred by several offensive scenes, such as blackface, that do not hold up well in today's context. While the film features talented actors and showcases their abilities, there are better comedies in their filmography that deserve more attention.

The story follows retired Captain Hammer (Johannes Meyer), who is hired by shipowner J. C. Lemborg (Emil Hass Christensen) to sail the "Høegh Belle," one of his ships, to an island off the coast of Africa where Hammer had run aground ten years earlier. He had brought back a stone that turned out to contain uranium. Hammer recruits Knud Karlsen (Frits Helmuth) as the first mate, Bøgelund (Dirch Passer) as the ship's cook, and Olsen (Ove Sprogøe) as the sailor. Lemborg's unruly son, Robert (Ebbe Langberg), is also sent on the journey. Robert had been involved with Karlsen's girlfriend, Anne Marie Bøgelund (Ghita Nørby), resulting in consequences. The spoiled Robert faces a tough time onboard, and when Karlsen learns that Robert is the father of Anne Marie's child, a confrontation ensues.

While Styrmand Karlsen offers a lively and adventurous experience, it falls short due to the inclusion of offensive scenes, notably the blackface portrayal. These scenes not only detract from the film's ability to be enjoyed but also undermine its overall quality. It is essential to acknowledge and address these problematic aspects, particularly in light of their harmful implications.

That being said, the film does have its merits. The three leads, Dirch Passer, Ove Sprogøe, and Ghita Nørby, are talented actors who have delivered excellent performances in numerous other films. Their presence brings a certain level of charm and wit to the screen, elevating the comedic moments and adding depth to their characters.

The film's plot takes the characters on a journey to "Pearl Island," where they encounter Queen Victoria (Clara Østø) and engage in amusing interactions. Styrmand Karlsen finds himself falling for the lovely Princess Bibiana (Tove Wisborg), adding a touch of romance to the storyline. The film incorporates catchy songs and showcases the actors' musical talents, providing enjoyable moments throughout.

However, Styrmand Karlsen ultimately receives a mediocre rating of 5 out of 10 stars due to its offensive scenes that undermine its potential. While it offers some entertainment value and showcases the talents of its cast, there are better comedies featuring the same actors that deserve a closer look.

Min Søsters Børn is a delightful and heartwarming film that offers the perfect blend of cozy entertainment, understated humor, and a touch of emotional depth. From start to finish, it keeps you engaged with its endearing characters, excellent child acting, and a light-hearted storyline that guarantees a pleasant viewing experience.

The plot revolves around Erik Lund (played by Axel Strøbye), a child psychologist who finds himself in a unique situation. His sister, Else Berg (Jeanne Darville), invites him to stay at her house while she and her husband are away on a business trip. This arrangement allows Erik to have a peaceful environment to work on his doctoral thesis defense. However, as soon as he arrives at their new address on Fredshvilevej 11, he encounters a series of comical mishaps and unexpected challenges.

The child actors in Min Søsters Børn deliver exceptional performances, bringing both entertainment and authenticity to their roles. Each character has their distinct personality and quirks, adding to the overall charm of the film. Pusle (Pusle Helmuth), Jan (Jan Priiskorn Schmidt), Michael (Michael Rosenberg), and Rikke (Sonja Oppenhagen) provide moments of genuine laughter and capture the essence of childhood innocence and mischief.

The film's humor is subtle and well-executed, often arising from Erik's predicaments as he navigates the responsibilities of taking care of six children and two dogs. Despite his expertise in modern child rearing, Erik quickly realizes that putting his theories into practice is far from easy. The contrast between his idealistic approach and the unpredictable nature of children creates many humorous situations, showcasing the film's witty writing and clever execution.

Amidst the lightheartedness, Min Søsters Børn also touches upon deeper emotional themes. Erik's journey is not just about the challenges of childcare but also about personal growth and finding unexpected connections. The budding relationship between Erik and Lisbeth (Birgit Sadolin), the neighbor's daughter, adds a tender touch to the story. Their exchanges about practical and theoretical child rearing highlight the film's ability to explore different perspectives while maintaining a warm and inviting atmosphere.

The direction by Annelise Reenberg keeps the pace engaging and ensures that each scene contributes to the overall narrative. The beautiful setting of the film adds to its cozy appeal, providing a visually pleasing backdrop for the unfolding events.

In conclusion, Min Søsters Børn is a perfect choice for a cozy movie night. It effortlessly blends understated humor, solid emotional content, and exceptional child acting into an entertaining and heartwarming story. Whether you're looking for a light-hearted family film or simply want to indulge in a feel-good experience, this Danish gem will not disappoint.

"Arvingen" is a film that falls short of expectations with its lackluster story and uneven performances. Set on the beautiful Borchholmgård, the film revolves around Godsejer Claus Borch (Gunnar Lauring), a widower who seemingly has no children. However, when Anders Jansen (Poul Reichhardt) arrives at the estate with a letter from his deceased mother, everything changes. The letter reveals that Anders is Claus Borch's long-lost son.

Poul Reichhardt delivers a standout performance as Anders Jansen, capturing the character's depth and complexity. Gunnar Lauring shines as Godsejer Claus Borch, portraying a widower with a fiery temperament. Their chemistry adds an intriguing dynamic to the story. Unfortunately, the remaining cast members fail to leave a lasting impression, with performances that lack nuance and fail to engage the audience.

The film's plot revolves around Anders exploring his newfound connection to his father and the estate, all while keeping his true identity hidden. Along the way, he encounters Lise (Astrid Villaume), a sweet husholdningselev who mistakenly believes he is applying for a job as the underforvalter. Lise falls passionately in love with him, further complicating matters as Anders navigates his complicated relationships.

"Arvingen" falls short in its execution, lacking the emotional depth and memorable moments found in previous works by Poul Reichhardt. The absence of standout songs, which are typically a hallmark of Reichhardt's films, further diminishes the overall impact. While the film touches upon themes of family, love, and identity, it fails to fully explore these themes in a meaningful way.

Despite its shortcomings, "Arvingen" showcases the talents of Poul Reichhardt and Gunnar Lauring, who deliver commendable performances. Their portrayals add some depth and authenticity to an otherwise lackluster narrative. However, the film as a whole leaves room for improvement and falls below the standards set by Reichhardt's other works.

Klovn is a Danish comedy film that left me feeling incredibly disappointed and questioning the taste of those who find it amusing. I must admit, there were a few instances where I chuckled, but overall, the movie is a prime example of the worst kind of childish humor.

From start to finish, Klovn relies on puerile jokes and crude innuendos that only serve to showcase the filmmakers' lack of creativity. The entire premise seems to revolve around the main characters, Frank and Casper, engaging in juvenile antics and embarrassing themselves at every turn. It's like watching two grown men regress into prepubescent adolescents who have no grasp of intelligent humor.

The film's fixation on sexual humor is particularly disturbing. Klovn seems to revel in objectifying women and reducing them to mere sex objects for the male characters' entertainment. It's disheartening to see such regressive and sexist content being presented as comedy. The constant barrage of lewd and offensive jokes only highlights the filmmakers' complete lack of respect for women and their inability to come up with anything remotely clever or original.

It's frustrating to think that movies like Klovn continue to be made, perpetuating the notion that this kind of immature and degrading humor is acceptable. The fact that it has managed to gain a following and receive praise from some only underscores the decline of comedic standards in our society.

Furthermore, the film's attempt at social commentary falls flat. Any potential depth or substance is drowned out by the overwhelming focus on shock value and tasteless jokes. Klovn tries to pass itself off as satire, but it merely comes across as an excuse for lazy writing and an excuse to indulge in offensive content.

In conclusion, Klovn is a prime example of the worst kind of childish humor. Its reliance on puerile jokes, objectification of women, and lack of intelligent comedy make it a truly disappointing experience. It's disheartening to witness the decline of comedic standards in our society when films like Klovn are celebrated and given a platform. I would strongly advise against wasting your time on this tasteless and offensive movie.

I recently watched the Danish movie "Barndommens gade," and I must say, it was a delightful experience. It is really a nice, quiet picture of life film.

Set in the 1930s working-class neighborhood of Vesterbro in Copenhagen, the film tells the story of 14-year-old Ester, who dreams of becoming a writer but struggles to find her place in the world. As the film is a slice of life, we get to see the daily struggles of Ester and her family, including her brother Carl, mother, and father, who live in a small two-room apartment without modern conveniences.

Ester is a naive and dreamy girl who befriends a new neighbor, Frk. Thomsen, and her life takes unexpected turns when her brother leaves home, and she experiences her first menstruation and a betrayal from her friend Lisa. The film has some light-hearted moments, and the acting is excellent, especially from Sofie Gråbøl, who played Ester. As for me, I thoroughly enjoyed seeing Sofie Gråbøl in Forbrydelsen, and it was a pleasant surprise to witness her impressive acting skills in this role as a teenage actor. Her performance was truly captivating and brought a great sense of depth to the character she portrayed.

The music is also great, and the film creates a cozy atmosphere. Overall, "Barndommens gade" is a charming movie that portrays the struggles of working-class families in the 1930s Copenhagen. It's always exciting to witness actors taking on different roles and showcasing their versatility, and Sofie Gråbøl did just that with this performance. I highly recommend this movie to anyone who enjoys a good slice of life movie and wants to see a talented actor in action.

Journal 64 is a solid addition to the Department Q series, but it's not particularly exceptional. The film is quite gruesome and strays into the ridiculous at times, but overall, it's an enjoyable Krimi. The story begins when some workers make a grisly discovery in an old apartment in Copenhagen. They find three mummified corpses seated around a dining table, with an empty seat left for a fourth person. Detective Carl Mørck and his assistant Assad are assigned to find out who the corpses are and who the fourth seat was intended for. They begin investigating the apartment's residents and eventually trace the trail back to the notorious women's institution on the island of Sprogø, where mentally challenged and "immoral" girls were housed and mistreated, and most were ultimately sterilized.

The historical part of the story takes place in the 1950s, and it's a dramatization of a sad and interesting chapter in Danish history. The film sheds light on the mistreatment and medical experimentation with forced sterilization that was a regular part of life for the girls placed on the island. While these horrors are now part of Denmark's past, some people emerge in the present, claiming that the experiments have continued to this day. Carl and Assad race against time to prevent new murders and abuse.

The film's direction by Christoffer Boe is competent, and the performances by Nikolaj Lie Kaas, Fares Fares, Johanne Louise Schmidt, and Søren Pilmark are excellent. The production design and cinematography by Nikolaj Danielsen and Jacob Møller respectively are also commendable. The film has received positive reviews, and while it may not be the best of the Department Q series, it's still worth watching, especially for its insight into Denmark's past. Overall, Journal 64 is an interesting and enjoyable watch.

Baronnessen fra Benzintanken is a Danish comedy film directed by Annelise Reenberg, released in 1960. The story follows the widow Baroness Alvilda von Rosensten (played by Maria Garland) who, after the death of her only son Jørgen, finds out that her estate is about to be taken over by her arch-rivals Clarissa Rabenfeldt (Erni Arneson) and her son Henning Rabenfeldt (Henrik Wiehe). However, when the family lawyer discovers a letter written by Helene Tofte, it is revealed that Jørgen had a child born out of wedlock, making that child the rightful heir to the estate. The baroness sends the lawyer to find the child, who turns out to be a beautiful young woman named Anne Tofte (Ghita Nørby) living with her uncle Lars Tofte (Ove Sprogøe) and his friend Hans Høj (Dirch Passer) at a gas station in Rønby. The story follows the family as Anne is brought to the estate and introduced to the household and the various conflicts that arise.

The film has a fun and light-hearted tone and is well-acted by the cast, particularly Ghita Nørby, Dirch Passer, and Ove Sprogøe, who are noted for outshining the rest of the cast. The story is less important than the informal family dynamic and the humorous situations that arise from it. While the film drags a little at times, it is an enjoyable watch overall. A shorter runtime of 15 minutes might have benefited the film. Overall, I would rate Baronnessen fra Benzintanken 7 out of 10 stars.

"Flaskepost fra P" is the third movie in the Afdeling Q series and is based on the book by Jussi Adler-Olsen.

Flaskepost fra P" is directed by Norwegian filmmaker Hans Petter Moland and written by Danish screenwriter Nikolaj Arcel. Moland is known for his work on a number of successful films, including "The Beautiful Country" (2004) and "Out Stealing Horses" (2019), while Arcel has worked on several notable films, including "A Royal Affair" (2012) and "The Girl with the Dragon Tattoo" (2009).

The film stars Nikolaj Lie Kaas as Carl Mørck, the lead detective of the Afdeling Q unit, and Fares Fares as his partner, Assad. Both actors have received critical acclaim for their roles in the Afdeling Q series, and their chemistry on screen is a highlight of the film. Pål Sverre Valheim Hagen, Jacob Lohmann, and Amanda Collin are also featured in supporting roles, adding depth to the film's cast.

In the film, siblings Samuel and Magdalena disappear suddenly, and an 8-year-old message in a bottle arrives at Copenhagen Police Headquarters, asking for help to save a boy in captivity. Carl Mørck and his assistant Assad from the Department Q investigate the case and discover a connection between the two events. They soon find out about a man who has been kidnapping and killing children for years and demanding a large ransom for the safe return of one of them. The team must work quickly to locate the children before it's too late, while Carl Mørck realizes that faith and death are closely related.

In my opinion, "Flaskepost fra P" is the best movie in the Afdeling Q series (as of this writing). The film is a thrilling crime story with an emotional connection that grips the audience. The investigation is complex, and the team's discoveries are thought-provoking and well-paced. The film's direction and cinematography are excellent, with the cold and moody atmosphere of Copenhagen adding to the overall tension of the story. Nikolaj Lie Kaas, Fares Fares, and the rest of the cast give excellent performances, bringing the characters to life in a way that feels authentic and engaging.

Compared to the previous films (which I did like), "Flaskepost fra P" has a stronger and more focused plot, with less meandering and a clearer narrative. The film is also more emotionally charged and delves deeper into the personal lives of the main characters, making them more relatable and endearing to the audience. Overall, "Flaskepost fra P" is a fantastic film that is both thrilling and emotionally engaging, and it is a must-watch for fans of the genre.

"Drengene fra Sankt Petri" is a Danish film that transports the viewer to the tumultuous times of World War II. Set in the early 1940s, the film follows a group of high school students, including Lars and Gunnar Balstrup, the sons of Pastor Balstrup. The young men find themselves caught up in the resistance movement against the German occupation of Denmark.

The film was made in the early 1990s and has clear influence from films like The Outsiders (1983) and the group of devil-may-care boys who the film tells us from the opening scene are "cool".

The film portrays a group of teenagers experience the reality of the early German occupation of Denmark, when the Danish government was still collaborating. The boys are resisting from a mix of classic teenage anti-authoritarianism, good old "boys will have fun" and true patriotism.

The film shows the delicate balance where the Germans are not total oppressors, but the situation is worsening and the average Dane is pulled between safety and respect for its own government and the fact that an occupier is present and that occupier is evil. It offers a poignant glimpse into a difficult time in history, highlighting the courage of ordinary citizens who risked their lives to fight for what they believed was right.

Directed by Søren Kragh-Jacobsen, "Drengene fra Sankt Petri" features a talented cast, including Tomas Villum Jensen as Lars Balstrup and Morten Buch Jørgensen as Gunnar Balstrup. Other notable actors include Bent Mejding as Pastor Balstrup, Helle Merete Sørensen as their mother, and Nikolaj Lie Kaas as Otto Hvidmann. The ensemble cast delivers solid performances, bringing depth and authenticity to their characters.

While the film has some notable moments, I must admit that it failed to capture my attention for the most part. One issue that stood out was the clothing; it didn't quite convey the authentic feel of the 1940s, appearing more like clothes from the oversized style of the 90s. Moreover, the dynamic between the young stars fell somewhat flat; their bonding and problems didn't seem entirely believable to me.

Overall, I would give "Drengene fra Sankt Petri" a 6 out of 10 stars. While it offers an interesting cultural slice of the 1990s, the time it was made, it failed to live up to my expectations in terms of immersion in the 1940s and missed some excitement. However, I would still recommend it to anyone interested in Danish history, as it does provide some valuable insights into the struggles of the Danish people during World War II.

"Venus fra Vestø" is a Danish film directed by Annelise Reenberg. The film's premise is a humorous take on the German occupation of Denmark during World War II. The story revolves around the Germans' plan to take over a small Danish island called Vestø, and the locals' efforts to resist their occupation. The Germans' primary target is the island's prized Jersey cow, Venus, whose unique breeding they want to use to create a superior race of cows.

The film has a pretty funny premise, but unfortunately, it fails to deliver on the humor front. Despite the comedic setup, the movie presents itself more like a serious drama, and as a result, the jokes feel stale and forced. The pacing is also a bit slow, and the film feels longer than it needs to be.

That being said, there are a few bright spots in the film. Dirch Passer, a well-known Danish actor, is enjoyable to watch as Ditlev Egede-Schack, Venus' owner's cousin, and his hobbyist painter. Passer's performance is entertaining and humorous, even if the script doesn't always give him much to work with.

The film is in Danish, English, and German, which can be a little jarring and may make it difficult for non-Danish speakers to follow the plot. The cast includes a mix of Danish and foreign actors, including Dieter Eppler as Kaptajn Weiss, the German commander on Vestø, and William Knoblauch as Ole Klausen, the local council chairman.

Overall, "Venus fra Vestø" has an interesting premise, but it falls short in execution. While there are a few funny moments and strong performances, the film's lack of consistent humor and slow pacing make it a somewhat forgettable viewing experience.

Fasandræberne, the second entry in the Afdeling Q series, is a solid krimi that keeps up with the quality of the first film. The addition of Pilou Asbæk raises the tone, and his chemistry with Nikolaj Lie Kaas makes for a great on-screen duo. Directed by Mikkel Nørgaard and written by Nikolaj Arcel and Rasmus Heisterberg, the film boasts an impressive cast, including Fares Fares, David Dencik, and Danica Curcic, among others.

However, despite its strengths, Fasandræberne is not without its flaws. At times, the film feels like it's dragging, and the pacing could have been tighter. Additionally, the attempt to portray a girl who willingly participates in both murders and rapes as the "victim" can be a little uncharming.

Overall, I would give Fasandræberne a 6 out of 10 stars. While it may not be perfect, it is still worth the watch, especially for fans of the genre and the series.

"Kvinden i buret" is a Danish thriller film based on the novel of the same name by Jussi Adler-Olsen. As I watched the movie, I found it to be a nice piece, although it was a little too far out for my taste. It's a quiet thriller with dark scenes and reserved characters, and I would say it's a slightly above-average Krimi. I'd give it 6 out of 10 stars.

The film follows the story of Carl Mørck (Nikolaj Lie Kaas), a vice detective who has been assigned to lead the newly established Department Q for cold cases. Together with his partner Assad (Fares Fares), Carl sets out to investigate the disappearance of Merete Lynggaard (Sonja Richter), a Danish politician who vanished without a trace five years ago. As they delve deeper into the case, they begin to uncover a strange and tragic history.

I found the acting in the film to be solid but not remarkable. Nikolaj Lie Kaas and Fares Fares give convincing performances as the odd couple of detectives, and Sonja Richter is compelling as the missing politician. The direction by Mikkel Nørgaard is well done, and the pace of the film is maintained throughout.

In conclusion, "Kvinden i buret" is a well-made movie with an intriguing plot and a good cast of actors. However, some may find it too slow-paced or lacking in excitement. Nonetheless, it's worth watching for fans of the genre.

"Klassefesten 3: Dåben" is the third installment of a Danish comedy series about three friends, Andreas, Niels, and Thomas, who are facing mid-life crises. The first Klassefesten was a charming gross-out dude-com, while the second was unremarkable, but still enjoyable for those who wanted more of the same. However, the third film feels like a desperate attempt to cash in on the franchise's success and offers little to no value to its audience.

Nicolaj Kopernikus, Troels Lyby, and Anders W. Berthelsen reprise their roles as Andreas, Niels, and Thomas, respectively, but their performances fail to elevate the lackluster material. Birger Larsen directs the film, but even his previous work, such as the critically acclaimed Danish TV series "The Killing," cannot save the movie from its uninspired plot and subpar humor.

The movie features adult humor, including references to venereal diseases and adult diapers, but these jokes fall flat. The film's visuals are its only redeeming quality. Overall, the film is uneffective and I found myself just waiting for it to be over. While the previous two films were worth watchin (at least for what they were offering), this installment is unlikely to satisfy even the most devoted fans of the series. Save your time and money and skip this one.

Klassefesten, and I must say that it was not a remarkable viewing experience. While the movie brings back the original cast and includes a few mildly entertaining moments, it fails to match the charm and appeal of the first film. If someone enjoyed the first movie, they may still find this sequel worth watching, but I would not highly recommend it.

The story follows the three main characters, Thomas, Andreas, and Niels, as they navigate their personal struggles. However, the plot seems to lack originality and freshness, and the characters' issues appear stale and clichéd. Thomas's music career is mocked, while Andreas and Niels continue to grapple with relationship and marriage problems.

The movie heavily relies on crude and tasteless humor, as exemplified by the character Torben, also known as Tissemand, which is Danish slang for a penis. The film takes a downward turn when Niels discovers Torben's untimely demise while using a bowling alley bathroom, leading to a series of awkward and ridiculous events. One instance includes Niels examining Torben's genitals to see if his nickname is justified, which is both vulgar and distasteful.

Although the chemistry between the main actors is commendable, the humor falls flat and lacks sophistication. The direction by Mikkel Serup is unexceptional, and the writing by Lars Mering and Claudia Boderke is uninspired and unimpressive. Overall, Klassefesten 2 - Begravelsen does add much to the first film. Worth a watch but nothing great.

I recently had the opportunity to watch the Danish thriller "Den Skyldige," which takes place entirely within an emergency call center. Despite being confined to a single room, the movie is an astonishingly well-executed concept that showcases the incredible talent of its cast and crew.

Directed by Swedish filmmaker Gustav Möller and starring Jakob Cedergren as the protagonist Asger Holm, the film follows a suspended police officer who is now working as a 911 operator in Copenhagen. Asger is not content with his new position and finds himself struggling to deal with the anxious and confused callers who contact the emergency call center.

However, his routine work takes a dramatic turn when he receives a call from a woman who has been kidnapped, and her kidnapper is sitting right next to her. Asger's demeanor changes as he becomes more involved in the situation, guiding the woman over the phone and working closely with colleagues from the police department to rescue her.

The film's 87-minute runtime keeps the audience's attention firmly on Asger's phone calls, which are tracked using a GPS map that displays the location of the caller's phone. The portrayal of Asger is particularly impressive, as we witness his character transform from an arrogant protagonist to an empathetic and resourceful rescuer.

Despite being set in a single location, "Den Skyldige" is much more profound than other single-location films like "Phone Booth" or "Buried." The film's trick of confining the audience's attention to the emergency call center works brilliantly, making the viewer just as invested in the situation as Asger. Jakob Cedergren's performance is outstanding, showcasing the power of great acting to elevate a film's concept.

Overall, "Den Skyldige" is a remarkable film that demonstrates the incredible potential of talented filmmakers, writers, and actors to create a thrilling and engaging experience. I highly recommend it to anyone who loves a good thriller or appreciates the craft of filmmaking.

I recently viewed the Danish-German war drama "Under Sandet" (2015), written and directed by Martin Zandvliet, which is based on true events. The film depicts the story of young German prisoners of war who were tasked with clearing the Jutland coast of two million landmines using their bare hands. This lesser-known chapter of Danish post-war history is a fascinating premise for a film.

The film begins with a group of German soldiers being transported to a Danish beach where they are forced to commence the dangerous task of removing landmines. The soldiers, led by the unyielding Sergeant Carl Rasmussen (played by Roland Møller), are subjected to cruel and inhumane treatment. Rasmussen's plan seems to be to starve the German soldiers to death while forcing them to work. However, the character development falls flat as the soldiers are portrayed as one-dimensional, lacking in personality. Similarly, Rasmussen initially comes across as a heartless monster consumed by hatred, making his later change of heart seem unearned.

One of the film's major issues is its monotony. The film maintains a dull tone throughout, and the bomb disarming scenes lack the excitement they could have had if the audience was more invested in the characters.

While the film has received acclaim for bringing attention to a little-known piece of history, its historical inaccuracies detract from its value. For instance, the German soldiers are led by a Danish sergeant in the film, whereas in reality, German officers led the program. Additionally, the film focuses heavily on the brutality of the Danish sergeant, which is not a part of history. The Danish government's stated plan in the film to starve workers to death is also not factual, as it was the Germans who functioned with death camps and starvation labor. This inaccuracy detracts from the actual controversy surrounding the use of German labor to deactivate the mines.

While films that take creative liberties with history to make a point can be effective, "Under Sandet" falls short due to its overemphasis on its supposed factual basis. The actors, including the German soldiers played by Louis Hofmann, Emil & Oscar Belton, and Joel Basman, failed to leave a lasting impression. The film's score also did not enhance the viewing experience.

Overall, "Under Sandet" has the potential to be an insightful and powerful film, given its historical context. However, its lack of character development, monotonous tone, and historical inaccuracies ultimately undermine its potential. I would rate it 2 out of 10 stars.

'Ser Du Månen Daniel' is a Danish drama film based on the true story of Danish photographer Daniel Rye who was held hostage for 398 days by the terrorist organization ISIS in Syria. The movie follows Daniel's struggle for survival, his friendship with American journalist James Foley, and his family's fear back home in Denmark that he may never return.

The film is directed by the duo of Niels Arden Oplev (The Girl with the Dragon Tattoo) and Anders W. Berthelsen, and stars Esben Smed as the titular character. Other major characters in the movie include the American journalist James Foley, played by Toby Kebbell, and the Danish hostage negotiator Arthur, played by Anders Heinrichsen.

The acting in the film is of high quality, with Esben Smed delivering a powerful performance as Daniel Rye. However, some scenes are graphic and hard to watch, but they drive the story forward and don't feel like cheap emotional shots at the audience.

Overall, 'Ser Du Månen Daniel' is an exciting and well-made film, although it deals with a subject matter that may not be everyone's cup of tea. The movie provides a nuanced perspective on the complex themes of Islamic wars and the interaction between refugees and the West, avoiding the simplistic and polemic approach that often characterizes such movies.

'Hvidsten Gruppen' is a Danish film that deals with the country's occupation by Germany from 1940 to 1945. The movie, directed by actress Anne-Grethe Bjarup Riis in her debut as a director, has an interesting and engaging storyline. However, the characters in the film are not very interesting and lack complexity. Despite this, the acting is good, but the material is limited in terms of character development. As a result, the film is given a rating of 6 out of 10 stars.

The story follows a group of Danish resistance fighters who hide a wireless radio transmitter in a village called Hvidsten during the Nazi occupation. The group is led by a family who risks their lives to fight against the Germans and help the resistance movement. However, the characters are depicted as perfect heroes with no flaws, which makes them less relatable and realistic.

The film stars Jens Jørn Spottag as Marius Fiil, Bodil Jørgensen as Gudrun Fiil, Thomas Ernst as Niels Fiil, Maria Bach Hansen as Tulle Fiil, and Laura Winther Møller as Gerda Fiil. The technical crew includes Anders Refn as the technical director and Morten Bruus as the cinematographer.

Although 'Hvidsten Gruppen' is a great story, the lack of character development and complication makes the characters seem flat and one-dimensional. The characters in 'Hvidsten Gruppen' are depicted as flawless heroes with no complex emotions, fears or flaws. The film lacks complication as there are no drunken or argumentative characters (in the main group) to add depth and realism. Additionally, the absence of any interrogation scenes creates a hero-centric view of the story, allowing the characters to remain pure and uncompromised in their intentions without ever facing any significant challenge or temptation.

Overall, 'Hvidsten Gruppen' is a film that highlights an important chapter in Danish history, and it is relevant to understanding the country's past. The film raises questions and topics of universal significance and is definitely worth the watch. It is good, but not great.

I watched Tilde Harkamp's comedy "Jagt Sæson" and had a few laughs, but overall found it uninteresting as a portrayal of female friendship. The film follows Eva (played by Mille Dinesen -- Rita from the Danish TV-show "Rita") as she navigates a divorce and contrasts her struggles with the seemingly perfect life of her ex-husband's new girlfriend, Bella (played by Stephania Potalivo). The film attempts to explore themes of jealousy and the importance of friendship, but ultimately falls short. While there are some humorous moments, much of the humor was just crass for the sake of crassness. However, some of the jokes were really funny. Overall, in genre, I'd rather watch Bridesmaids for a more satisfying and nuanced portrayal of adult female friendships.

I recently had the pleasure of watching "Onkel Bill fra New York" (1959), directed by Peer Guldbrandsen, and I must say that it was a delightful and charming film. The trope of cross-dressing, with a man pretending to be a woman, was a central element of the story, but it was executed in such a way that it worked well and added to the overall humor and atmosphere of the film.

The main characters were played brilliantly by the cast, with Helle Virkner as Susanne Høy, stealing the show as a superstar. Her chemistry with Dirch Passer, who played her husband Hans Høy, was palpable, and their constant arguments and reconciliations were hilarious to watch. Emil Hass Christensen played the eccentric Uncle Bill, whose visit to Copenhagen caused quite a stir, and Ulla Lock portrayed his daughter Kate, who added to the chaos and confusion. Ove Sprogøe (best known for his iconic role as Egon Olsen in the Danish film series "Olsen Banden") portrays the character of Johny Jensen, the reluctant cross-dresser, with comedic understatement who falls for Kate.

The film's setting in Copenhagen and New York was beautifully captured by the cinematography of Aage Wiltrup, and the music by Sven Gyldmark added to the film's charm. The production design by Otto Lund and Jørgen Krogh was also noteworthy, as it helped to transport the audience to a different time and place.

Overall, "Onkel Bill fra New York" is a fun and lighthearted film that is sure to leave you with a smile on your face. It is a testament to the talents of the director and the cast, particularly Helle Virkner, who shines in every scene she appears in. I would highly recommend this film to anyone looking for a good laugh and a feel-good story.

Der brænder en ild (1962) is a Danish classic film directed by Alice O'Fredericks and Robert Saaskin, starring some of the most iconic Danish actors of the time. Poul Reichhardt, who played the role of Martin, was one of the most beloved actors in Danish cinema and television, having appeared in numerous films and TV shows throughout his career. Reichhardt's performances were often characterized by his strong presence and charming personality, making him a beloved figure in Danish film.

The film takes place in a small Danish village and revolves around the Hovmann family and their struggle over their inheritance. Just Hovmann (William Rosenberg) and his wife Martha (Astrid Villaume) have been running their family farm since Just's retirement, but their financial situation is precarious due to a debt owed to Bent Nisted (Jørn Jeppesen) and his wife Abelone (Marie Brink). The debt puts their ownership of the farm in jeopardy, as Bent and Abelone have threatened to foreclose on the property if the debt is not paid.

Meanwhile, Martin, Just's brother, returns to the village after nine years in Greenland and Canada. His return sparks jealousy in Just, who is afraid that Martin's presence will cause Martha to remember her former feelings for him. Martin, however, has plans of his own and wants to use his savings to start a machinery business. As tensions rise between the two brothers, the family's financial problems escalate, and it seems that they will lose their farm.

Despite the bleak outlook, the film manages to resolve the conflicts in a satisfying manner. Two standout musical scenes in the film are both catchy and toe-tapping, adding to the film's charm. While some may find the resolution a little too neat, the film is generally a good watch, with a nice setting often seen in classic films set on a farm in the Danish countryside, handling themes of love and family inheritance.

Overall, Der brænder en ild is an important film in Danish cinema history, and its enduring popularity speaks to its timeless appeal. The film's use of the Danish language and its depiction of rural life in Denmark make it a valuable cultural artifact that offers a glimpse into Danish society during the 1960s.