Since his feature debut Secondløitnanten (The Last Lieutenant, 1993) twenty years ago Hans Petter Moland has established himself as one of the most acclaimed and respected filmmakers working in Norway, and in fairness all of Europe today. His newest outing is Kraftidioten (In Order of Disappearance) and it is another terribly amusing and wildly entertaining crime drama, much like his previous En ganske snill mann (A Somewhat Gentle Man, 2010). Not surprising as it features the same writer Kim Fupz Aakeson and another superb leading turn from Moland-regular Stellan Skarsgård. There is a distinguished touch to Moland’s take on both the violence and family conflict that carry this story, but the director does not pull any punches. The aforementioned Skarsgård is joined by a great ensemble, perhaps Moland’s finest to date, with particular mention going to Pål Sverre Hagen who turns in one of his most memorable performances as the villain Greven.
Another Norwegian feature that has received plenty of attention abroad even before its theatrical release back home is Eskil Vogt’s Blind. Winner of the prestigious World Screenwriting Award at Sundance as well as the Europa Cinema prize at the Berlin Film Festival, this film is already set to have a long and healthy life in cinemas across the world. This is Vogt’s debut as a feature film director, although his name will ring familiar to those who caught Joachim Trier’s Reprise (2006) and Oslo, 31. August (2011), where he served as co-writer. The film has a lot on its mind, and manages to be both engaging and fascinating as Vogt plays around with both structure and genre, perhaps eager to make an impact with his directorial debut. The film is carried by a great group of actors, with Ellen Dorrit Petersen turning in a career-best performance in the leading role. The film is likely to both impress and inspire, and confirms that Vogt has proven his talent worthy of the director’s chair.
A new Martin Scorsese picture is always an event, and it is especially pleasing to see that The Wolf of Wall Street is the iconic director’s most playful and entertaining film in years. Based on the true story (and book) about Jordan Belfort’s rise and fall from rookie to mogul, and penned superbly by screenwriter Terence Winter (creator of HBO’s Boardwalk Empire). Scorsese makes the most of every page and throws in a great collection of characters that together make this a highly enjoyable ride that makes the three hour running time fly by. Much thanks to another incredibly impressive turn from Leonardo DiCaprio in the titular role. His fifth collaboration with Scorsese is a work of pure genius, in both a dramatic and amusing sense. Completely unafraid, DiCaprio has created one of the most memorable and sly characters ever to appear onscreen and one can only hope that this will be the one to finally earn him that most coveted gold statue.
ESSENTIAL LISTENING THIS FEBRUARY:
Oslo Ess is quickly growing to become one of Norway’s most popular bands, both among their core rock loving audience, but also proving a hit with sceptics and music critics that is becoming more and more obvious. It helps being as productive as the quartet from the capitol have proven to be, releasing their fourth album (including a live record from last year) Alle hjerter deler seg this month. Their formula is safely protected by the impact of their previous outing, but there is no denying the enthusiasm and credible attacking positions they strike as they aim to rock your socks off. This is another successful album, establishing Oslo Ess as one of Norway’s biggest bands at the moment, but they may have to strike more chords with their next record.
After four studio albums, Band of Horses release their first live record this month, a collection that includes tracks from all their previous albums. Recorded at the infamous Ryman Auditorium in Nashville the title is fittingly Acoustic at The Ryman. The pick-n-mix selection is admirable and should fall in good taste with their fans, as should the absolutely terrific production value of the album. Rarely has a live acoustic record ever sounded better than this one, making you pay attention to every little detail both from the stage and the very appreciative audience. A great gem for the fans of the bearded folk rockers.
When Broken Bells released their self-titled debut back in 2010 it was never certain if this was a one-off or the start of a greater collaboration, as the founding members were already preoccupied with other successful outfits. James Mercer of The Shins and Danger Mouse from Gnarls Barkley has at least proven that there was always more to come, with this month’s After the Disco. And just as their debut was a breath of fresh air with its light hearted pop tracks, this follows in the same direction with perhaps a slightly more electronic touch. It is another well-crafted record that is easily recognizable as the work of solid professionals, with lots on their mind both lyrically and musically. Enjoy the first single from the album, Holding on for Life which also comes with a very entertaining video featuring Anton Yelchin and Kate Mara.
