Réalisation:
Lasse HallströmScénario:
Paolo VacircaPhotographie:
Mattias MonteroMusique:
Oscar FogelströmActeurs·trices:
Tobias Zilliacus, Mikael Persbrandt, Lena Olin, Helena af Sandeberg, Oscar Pettersson, Anna Azcárate, Jonatan Bökman, Jan Waldekranz (plus)VOD (1)
Résumés(1)
Une famille est retrouvée sauvagement assassinée dans une maison de la banlieue de Stockholm.Laissé pour mort, Josef, le fils aîné, devient le seul témoin du crime. Dans le coma, il ne peut être interrogé par l'inspecteur Joona en charge de l'enquête. Pour progresser, Joona demande à Erik Maria Bark, hypnotiseur, de tenter un contact avec le garçon. Alors qu'il devait ne plus jamais utiliser ses dons, Erik accepte et s'aventure dans l'exploration du subconscient du jeune garçon. De terribles secrets vont remonter à la surface : les surprises ne font que commencer... (UGC Distribution)
(plus)Vidéo (2)
Critiques (7)
Voici un thriller décent dans lequel un mystère élaboré est graduellement élucidé. Certains moments sont prévisibles, mais l’histoire laisse toujours quelques questions sans réponse. Le film aurait été plus fluide sans tous les déboires conjugaux, bien que la lenteur hypnotique qui en découle fasse partie du jeu avec le spectateur. L’ambiance lugubre de Stockholm en hiver n’est pas aussi puissante que les créateurs l’ont souhaité, mais Mikael Persbrandt excelle dans le rôle de l’hypnotiseur. D’ailleurs, sa performance est ce qu’il y a de meilleur dans ce film.
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A truly hypnotic anti-detective story that has no tension, no charisma, and no atmosphere. Moreover, the script is so emphatically retarded that the barely average book by "Mr. and Mrs. Kepler" looks like a masterpiece compared to the film. The highlight of everything is the character of Joona Linna. I don’t think I have never seen a detective who lets a witness go who tells him at the beginning of the investigation that she knows the killer. And I've probably never seen a detective solve a case by sitting on the spot. Sorry, I have - his name was Zeman. In addition, Hallström filmed it unbearably statically (the whole family storyline is stereotyped to death) and in some places senselessly with too much flourish, as if the last thing he saw from a detective story came from the pre-Fincher Hollywood of the 90's. The result is so sexless and stupid that it offends.
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An ex-hypnotist Erik is going through a marriage crisis when he gets a phone call at night, probably from a woman, but there’s a man at the other end of the line – a cop. Erik doesn’t hesitate and bolts, which makes his wife anxious, fearing that he’s cheating on her again. Two years ago, he did and she still doesn’t trust him. By the way, Erik loves pills. And when he sees an unconscious boy in the hospital, it turns into a very pleasant crime investigation, which is, after all, what the Northerners are so much better at. Even though as they say, all that glitters is not gold. In any case, I must admit that it wasn’t all that bad. I expected much worse.
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Lasse Hallström has never been known for wild plots or dynamic forms, but what is excessive for a Scandinavian detective story is truly too much. Especially when an unreasonably long shot of a certain person soon appears, and persistent clues are served to confirm a suspicion, it becomes frustrating. Beorn should have focused more on figuring out why his wife is such a shrew within the context of her hypnosis.
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I understand that from time to time Lasse Hallström wants to break out of the box of creating tender dramas full of family silver and romantic tears, but here even he himself could never have possibly thought he would succeed. The entire snowy investigation remains sadly mediocre and unremarkable even in crucial twists, and the unforgettable cast of actors (with the honorable exception of the grumpy Mikael Persbrandt) doesn't change anything about that.
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Annonces