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  • As the critics said some days ago, when Kraftidioten (International titled "In order of disappearance") premiered in the main program of the Berlin Film Festival, this is both hilarious, rough and beautiful. While giving loads of fun and entertainment, you'll soon discover that the film has a complex underlying theme which makes this interesting on a much wider scale.

    But still, this is not a film for the faint hearted. That said as a warning, because the body-count is bigger than in any Norwegian film I've seen before. There's no sex, but all violence in this, still testosterone filled, movie with a hero called "Dickman". You can't say it more obvious than that.

    Or what about a plot with a Swedish plowman working in the remote Norwegian high mountains dealing with Norwegian and Serbian gangsters in a vigilante film, crossed with beautiful Norwegian landscape and droll humor!?! Well, it's completely up my alley.

    Hans Petter Moland always delivers. He has made the great films "A somewhat gentle man", "The last lieutenant", "Zero Kelvin", "Aberdeen" and "Comrade Pedersen" amongst others. All of them recommended! It's "A somewhat gentle man" which is most like this last one.

    If you loved "Fargo", "Burn after reading", "The big white" or "In Bruges" this is the film for you. It's almost a mix, though it's a bit more dark and bloody, and has a more serious underlying theme. This is balanced beautifully with giving death announcements in a way I've never seen before after the body count rises.

    It's seems like a film that doesn't take itself too seriously, though it still has some hilarious Tarantino-like discussions, mainly from minor roles, which adds a lot to the film. They are discussing the great food in the Norwegian prison system, how Norwegians are so environmental that they pick up dog litter in little bags, and the Scandinavian welfare system is discussed as a need because of the snow and lack of sun. A country where even the gangsters drink tomato juice and drive hybrid electric Fisker Karma cars.

    But what makes "In order of disappearance" stand out as much more than a hilarious masculine violent "Fargo" is that it actually is a deeper comment about how men act. Our anti superhero is called Dickman, because he really acts like one, though still being a nice and likable man. Not able to express feelings to his wife, which leaves him, avenging that his bloodline via his lost son is all that matters. Of course we know that our society is patriarchal. In this film it's over-exaggerated, but giving a good comment on today's society. The men are the one's both criminal and the users of violence. Dickman didn't even know his son, and though being a "nice" kidnapper, he doesn't even know how to read a bed time story. The film has almost no affection, except between men, and film maker Moland knows to punish those kinds of forbidden feelings. He also, in more way than one, express that men are stupid, doing stupid things, which almost always has a severe consequence.

    This is the kind of film I wish would never end. I enjoyed it immensely right from the start, and it even grew from there. The film doesn't give all answers, but our vigilante hero at least gets to do some "good" deeds along the way. And if you hate drug dealers, then this is the film for you.

    Stellan Skarsgård is perfect as the understated Swedish immigrant, just voted the inhabitant of the year in his little mountain town, which is a place we really don't get to know where is. The signs says "Welcome to Tyos..." and then the snow constantly covers the rest of the name. Even Oslo is made as a Alaskan-like ice city, where mountains are put where they usually not are. Our hero takes the matters in his own hands when he understands that the police are considering not to investigate the case of his son found dead by drug overdose in the city. He knows of course this is murder. And he is going to revenge his son's death.

    The film has so many great supporting roles, which all make up this story, and I'm sure this film will do great world wide. Great scripting again from Danish Kim Fupz Aakeson and great filming by Philip Øgaard. The scenery is awesome, an adds to the film's sentimentality as well as beauty, which makes the whole environment even more exotic.

    It's the fourth time Stellan Skarsgård is featured in a Moland-film, and it's not difficult to understand why. But Bruno Ganz is perfect as the Serbian gangster Papa and I also loved Pål Sverre Hagen as the neurotic vegan gangster "Greven" (The Count). But so many from the supporting cast should be praised as well.

    Be sure to pick up this treat of a dark gangster comedy! As bloody as they come, but still with a great heart! You won't regret!
  • "In Order of Disappearance" (2014 release from Norway; 115 min.) brings the story of Nils, a Swedish guy longtime resident of northern Norway. As the movie opens, Nils and his wife are getting ready to accept the "Citizen of the Year" award of the local chamber of commerce. Nils, who runs a snow removal equipment business, accepts the award with humility and dignity. In a parallel story line, we see a couple of young men getting kidnapped and one of them eventually dies. It turns out to be Nils' son, who was in the wrong place at the wrong time, getting mixed up in a local drug gang. Nils knows his son was not an addict and decides to look into the circumstances of the death of his son... At this point we are 15 min. into the movie, but to tell you more would spoil your viewing experience, you'll just have to see for yourself how it all plays out.

    Couple of comments: this is the latest movie from Norwegian director Hans Petter Moland in which he collaborates with Swedish actor Stellan Skarsgård, who plays Nils. The movie was billed on Google Movie Times as a "comedy" and in a sense it might be one, but a very dark one, if that. I found the movie to be a so(m)ber crime drama, in which Skarsgård plays "Joe Sixpack" who is out for revenge of his son's death. Sure there are chuckles here and there, but to me the film resonates a lot more on the level of how an average guy turns out to be a systematic and determined revenge-seeker. The setting of the film, somewhere in northern Norway, is gorgeous, and the use of the snow blowers and snow removal equipment is almost balletic.

    This movie is two years old now, and for some reason just popped up in the theater. I saw it this past weekend at the E Street Landmark Theater in Washington, DC. The matinée screening where I saw this at was attended very nicely. No idea why it has taken this long to get into US theaters, but better late than never I suppose. In the meantime I read somewhere that this movie is going to be remade by Hollywood, but without Skarsgård. Say it ain't so! If you are in the mood for a foreign language crime drama with undertones of a dark, if not black, comedy, you cannot go wrong with this. "In Order of Disappearance" is HIGHLY RECOMMENDED!
  • Finally watched it last night. Instead, I got a film that quickly grew on me as the body count mounted (hence the Englsh title). An earlier reviewer said it was like Fargo, but I would add a touch of an absurd Kill Bill body count. At the end of the film I was laughing out loud. A great dark comedy.
  • Stellan is stellar in Kraftidioten and so are the ever-neurotic villain and his comrades. Northern comedies are famous for a sort of mocking realism, spiced with irony, complete, as a rule, with a generous amount of black humor (cf. Adam's Apples, Flickering Lights, The Green Butchers). Kraftidioten doesn't fail to deliver on that count, for sure. It is at the same time serious, playful, hilarious, and thus highly entertaining. The plot doesn't have huge surprises in store, but what it does have is of the finest strain. The story is nicely spun; the characters are memorable, and dialogs are well-written and wonderfully witty throughout.

    The son of a snow plower driver is killed by drug dealers for something he's not involved in. This sends the father, who is by the way a highly-esteemed citizen thanks to his work for the community, into a paternal rage and on a quest to avenge his son, setting a domino effect in motion in the local mafia's life.

    A snow-covered dark comedy that should please a wide variety of movie lovers for all the good reasons. Double thumbs up! 9/10.
  • billcr1215 November 2015
    Warning: Spoilers
    Serbian criminals, Swedish criminals, Norwegian bad guys, Albanian bad guys; it is all here in this hilarious Tarantino inspired Swedish crime drama. A young man is killed but his death is ruled an overdose, and thus begins a wild revenge thriller. The boys father takes it upon himself to track down and kill his son's murderers. The guy drives a giant snow plow, clearing massive amounts of snow while at the same time turning into Charles Bronson's character in Death Wish; which is referenced in this clever script. Any writer who can work the cereal Fruit Loops into dialogue between the main villain and his baby mama and ex girlfriend gains my highest respect. The film combines the best aspects of Fargo and Reservoir Dogs with a great cast and enough tongue-in-cheek humor to make this one of the ten best movies of the year.
  • Well first of all let me say that I certainly did enjoy this movie. What I don't understand is the fact that some people consider it as a funny crime comedy. Maybe it's because I don't understand the language that I missed some subtle humor or so, I don't know, but the fact is that I for sure didn't laugh once with this movie. The story might not be very original but the actors all did a great job so I can't complain about that. Stellan Skarsgård showed us again that he is a good actor. The story is just another normal citizen searching for revenge after the death of his kid. All in all I thought it was well played and filmed with nice nature shots as well.
  • Very, very good movie, with excellent plot (some resemblance to Cohen brothers), very funny moments and a pretty nice body count. Cast was also "hand picked" and did a perfect job. So, we have a lot of snow, a crime plot, some absurd a la Monty Python which flawlessly blend in, very funny jokes (also by Norwegians about Norwegians), quite a bunch of killings, excellent direction, music, acting and all other movie aspect and what could anyone wish for more? It is also very original in some artistic approaches (therefore the title of the movie in English) and all in all highly recommended. Go and see that Europe (especially Norway) makes outstanding contributions to the 7th art. Enjoy. :)
  • Warning: Spoilers
    After recently getting hold of the bonkers The Hypnotist on DVD,I started looking round for a new Nordic Noir title to uncover.Reading a great review on the movie from a fellow IMDber recently,I was pleased to spot a non-Marvel (!) Stellan Skarsgård film appear on Netflix Uk,which led to me getting set to see things disappear.

    The plot:

    Working in a small Norwegian town, Nils Dickman spends the day going round on his snow plough clearing the roads,Settled into his calm life,Nils is horrified to receive news that his son has died of a suspected heroin overdose. Believing that his son would never do heroin,Nils does his own investigation,and finds out that his sons death was a murder,covered up by two thugs working for an underworld gang. Kicking down doors,Nils tracks the thugs down and pushes them to give him a full list of their gang,before killing them. Completely unaware of Nils,gang leader "The Count" begins to suspect that the disappearance of his thugs is the starting pistol to a gang war.

    View on the film:

    Noting down Nils's kill list,director Hans Petter Moland & cinematographer Philip Øgaard give the title a freezing cold Nordic Noir atmosphere,with the metallic reflections of The Count's mansion blinding him from seeing Nils on the attacks,and the "disappearances" Nils commits grazing the mountains of snow. Cutting the Nordic Noir with a comedic bite, Moland drives a peculiar line of dark comedy in the snow,nailed in crosses being put on screen as Nils chucks a new dead body over a cliff,and smooth crane moves mapping out the small town folk charm of Nils surroundings.

    Making a list and checking it twice,the screenplay by Kim Fupz Aakeson keep the episodic nature of Nils revenge attacks from drying up,by getting Nils to unintentionally kick off a gang war run on Nordic noir loyalty,and cold,dirty "business" money. Along with putting a steak of Noir in The Count's heart, Moland jabs with deliciously quirky black Comedy,from the small town folks being completely clueless about what is taking place around them,to some less than mature puns on Nils second name: Dickman. Peacefully going round clearing the snow, Stellan Skarsgård gives a great performance as Nils,thanks to Skarsgård making Nils fatherly warmth freeze into a burnt-edged Noir assassin,as Nils starts to put the disappearances in order.
  • Warning: Spoilers
    if this was an American movie, I probably would have been thinking "please." but it's not , and I didn't. stellan skarsgard is a father out for justice, when his son is found dead from a drug overdose. stellan's character, nils, knows his son was not a drug addict. the policeman tells him that all parents say the same thing. nils finds a friend of his son, who tells him the truth of what happened,. this sets him off on his quest for revenge. I went to see this film because I have seen a lot of stellan's work and he's usually pretty good. when nils tells his brother what his plan is, his brother tells him that he couldn't kill anyone. that is the paradox here. nils is a nice guy, just don't get him angry. like the hulk. the end is wobbly and way over the top, but hey, who isn't. bottom line-quinton Tarantino in Norway. go.
  • djremotion26 October 2014
    Most enjoyable movie this year in my opinion.

    Top notch acting all the way.

    Cold-blooded and measuring acts of paying back the karma, and letting the violent justice roll it's often unpredictable course.

    Movie shines in many things, not least immersing audience into setting where it all happens. Showing really lifelike Scandinavian way of living and thinking.

    Storyline is not something you can foresee. And balance between tension and darkness is chopped up once in a while with tiny gleam of amusement.

    It totally pushed right buttons for me and was more satisfying movie than any other this year.
  • Unassuming, snow ploughing, 'Citizen of the year', a man of few words, Nils Dickman (Stellan Skarsgård), goes on a vigilante kill crazy rampage, disposing of those mobsters responsible for his son's death, because a man must avenge his son... it's expected of him.

    ...and that's basically the plot in this quirky, slightly strange, somewhat dark, Nordic humoured movie. After a intriguingly dark and interesting beginning, the plot itself runs a little stale and begins to feel slightly familiar and rehashed. It's a shame, because a weak plot is the movie's only flaw. To me, it felt a little bit of a cop-out from the original premise of the 'ordinary man', that he could conveniently enlist the help of his criminally linked brother, in order to get the movie flowing again.

    Nevertheless, there is a lot to take away from the movie, and, even if the plot falls a little flat midway, the characters and even the ambiance certainly do not! There is something so charmingly black in the understated Nordic tone that will keep you enticed - perhaps not loud roaring laughter, but certainly continuous rumbling chuckling throughout. The theme may be familiar, but it is told with a new ice veneer that is typically Norwegian in style, aided by the wonderfully droll backdrop of the mountainous countryside. Whether it be the in-car conversations between mobsters discussing issues such as differences between the welfare systems of cold climate countries as opposed to those of hot climate countries; or the face-off between the kingpin mobster, Greven (Pål Sverre Valheim Hagen) and his passively aggressive, coldly beautiful, ice-queen ex-wife, Marit (Birgitte Hjort Sørensen), these little scenes will most certainly keep you entertained and engaged.

    The movie is certainly self-aware and has a little laugh at the quirks of Norwegian culture. This is no more evident than in the king-pin's home with its excessive and immaculate modernist furnishings. Scenes with Greven putting 'five-a-day fruits' ahead of business matters again epitomises the 'new world' of the Norwegian mobster. This modern society is put in stark contrast to the 'old world' of the Serbian rival gang where tradition and loyalty, the notion of an eye-for-an-eye, is paramount. Yet, even despite its odd quirks, the new world can manage to entice the old, with the Papa (Bruno Ganz), in the midst of his manhunt, opening up to new sensations on the cold mountaintop, vicariously experiencing the simple pleasures of the children as they ski down the mountain... and so the movie is perhaps also proud of its culture and origins, giving it a proverbial 'Fargo' feel.

    Perhaps it doesn't quite attain the promise of 'high-art' it might suggest in its opening 20 minutes, but soon you learn it doesn't really need to. It's a quirky, superfluous little number that will give you fresh enjoyment on an old theme, and keep you quietly chuckling along, clucking like a hen, until the very end.
  • "In Order of Disappearance" is NOT a film for everyone. In some ways, I'd categorize it as 'Murder Porn'...a movie with many, many vivid and brutal killings...like a Tarantino or Guy Ritchie movie. And, like one of these incredibly carnage-filled movies, it's also exceptionally well made. But being well made does not mean it's for everyone....it is a really nasty story of revenge.

    When the film begins, two guys are abducted and one is murdered. The other escapes and eventually makes it to see Nils Dickman--the father of the dead man. It seems that the guy who got away was involved with drug dealers but Dickman's son was completely innocent. Well, Nils isn't about to let go and has decided he must have justice--even though he's just one man against a gang of vicious drug dealers. It's funny, as Nils was just awarded a Man of the Year award...and now he's about to become a vicious killing machine.

    Nils only has one lead and soon abducts this lead. He savagely beats and then murders the gang member after he learns the next one in the chain of command and does the same once again. After Nils kills his third gang member, the gangs take notice...and think it's a rival Serbian gang behind all this. Soon, it's all out war...and bodies are piling up faster than the audience can keep track of them.

    This film is exquisitely directed and realistic to boot. But it's also blood-filled and violent...and I am talking about very realistic and hideous killings. I was actually surprised, as I just assumed Americans and Brits were the only ones making these sort of films! Well made...but please, please, please...DON'T let your kids, mother or Father O'Reilly catch you watching this film!
  • In Order of Disappearance tells the story of a Swedish snowplowman from a remote part of Norway who becomes a vigilante after his son is murdered by gangsters. But recounting the story wouldn't really give much of an indication of why this one is so impressive. The narrative is definitely good but it's the way it's told that makes this one a winner. The chief reason is probably its humour. The script is full of funny dialogue, with characters often going off on humorous tangents about, for example, why only cold countries have a welfare state or how nice Norwegian prisons are. The script is full of humour that never feels forced and genuinely amuses. It works so well because the actors on hand to deliver the lines are so very good. The standout for me was Pål Sverre Hagen, who plays the vegan crime boss The Count, who puts in a thoroughly hilarious performance.

    As the title suggests the film documents the order in which characters disappear, i.e. are murdered. The way in which it does so is to display their names on white text on a black backdrop with an accompanying symbol of their religious group; to this effect we have the Protestant crosses of the dead Norwegians, the Catholic crosses of the Serbians and the Star of David for the one Jewish victim. It's an unusual, original idea that is both funny and kind of poignant at the same time. It goes against the grain of most crime films that for sure. The story has the vigilante killing his way up the crime chain in his pursuit of revenge over his son, while at the same time two rival gangs – Norwegians and Serbians – fight amongst each other on account of a confusion caused by the vigilante's actions. This allows for lots of varied events, interesting characters and much hilarity. In Order of Disappearance is a very solidly recommended crime-comedy, with lots of good things about it. It's yet another recent example of the Scandinavians having a bit of a knack in making refreshingly different crime films.
  • Norway has a habit of producing slick, gritty crime dramas. In Order of Disappearance is no exception.

    This film is a clever revenge/crime drama with a a well crafted symmetry. Dispirit characters seemingly with little in common are brought together as this film unfolds, primarily by a shared need for revenge. The predictable result, is death. Lots of death.

    That said, there is nothing maudlin about this film. If anything it treats death in a rather matter of fact fashion. Its simply an outcome of life and one to be accepted. Indeed, there is more than a little gallows humour sprinkled throughout this film, including a rather comical death in the closing scene.

    This film is well paced and there is a good amount of action on offer. The film is not overly violent but the violence that is offered up, particularly in the opening portion of this film is, at times, quite graphic.

    The acting is excellent throughout and some of the characters, particularly the crime lord known as "The Count", really add colour and much needed humour to this film.

    Simply put, In Order of Disappearance is well worth your time. I found it so engrossing that even the subs were of little consequence. Nine out of ten from me.
  • First Headhunters, now this.. The films that keep coming out of Scandinavia, and in particular Norway, are hard to beat. Headhunters was most definitely one of my favourites of last years and this is also very high on the list.

    For me it's the (fairly) unknown actors, the absolutely shameless and inventive humor and I guess that beautiful landscape. And of course the great, very well known, Stellan Skarsgard for whom this seems like it's especially made for. He is perfect and such a great character that you will be rooting for him long after the film is finished. He makes the film, but it probably would have worked with another actor as well, as the story is so original and highly entertaining.

    Absolutely loved it and can't wait to see it again. Hollywood: HANDS OFF 8/10
  • Sigh. Why couldn't I have been the writer or director of this film? Hell, I would even settle to be best boy, gaffer, caterer, shoe shine specialist or whatever. It's finally refreshing to see a movie that has all the T's crossed and the I's dotted. It stars Stellan Skarsgard and Bruno Ganz, for Heaven's sake. How bad could it be?

    I didn't come into the film expecting much other than it was yet another entry in Norwegian cold landscape crime noir category. The scenery alone was worth the price of admission since it's quite the chore to film snowy landscapes. Here, the snow-capped mountains looked a postcard come to life. The direction was taut and there were no wasted scenes. I couldn't help but noticing there was a bit of a Tarantino-esque touch to a few parts of the movie, but I'm not complaining. This film has a lot of layers to it and it is easy to follow. The producers should be proud of themselves.
  • mikedersch19 January 2017
    You'll remember Stellan Skarsgard from Good Will Hunting. He's done plenty of work since then, but this role in particular is a standout in my opinion. He played his part so low key. No ego. So much so that he comes off as a different person than the actor in Good Will Hunting. The entire cast did a fine job. This movie was fun for me, because I had never really thought about Norway being a place where rival mobsters (and their gangs) would go at it. Such a gorgeous country. Lots of snow. Winter snow, not spring snow. It was cold when this was filmed. Creative, different, decent soundtrack, plenty of comic relief in this otherwise violent movie.
  • Most movies about revenge tend to focus on the spectacle of cruelty and bloodshed, delivering a film filled with somewhat morally justified killings, but no meaning behind them. This one is not like them. Like other Scandinavian masterpieces, In Order of Disapperance delivers a deep and meaningful story. In Hungary, the distributor tried to advertise the movie as a dark comedy, however, besides a few morbid jokes, there is nothing funny about it. Instead, the script tries to focus on the conflicts and the person tragedies behind the murders and the shootouts, which makes it not just a great gangster flick, but also a great drama. In Hans Petter Moland directing style, every gesture, look, sentence has a meaning, and this is the reason, why for example the main character can function in the story without merely saying any words. Of course, this impact is helped by some performances by Skarsgard, Bruno Ganz and Pal Sverre Hagen.

    My only problem with this movie was that it has a somewhat slow pace, and because of that, sometimes it struggled to keep up my attention, but nonetheless, it's a quality piece and I'd definitely recommend it.
  • Warning: Spoilers
    Every country lives by its particular myths, even its borrowed ones. The American myth of The West — pioneers and solitary lawmen bringing civilization to the wilds, turning the desert into a garden — is a story as quintessential as the Eden of Genesis, which it reverses. It has grown from national legend into archetype. Now it's universal. So Norway can claim and tell it too. Hey, replace the vast desert with a cinemascope snowscape and it's a Western — mutatis mutandis, as we used to say in Dodge.

    When Nils Dickman (and yes, his name provokes those jokes) receives his Citizen of the Year award in the small community where he runs the vital huge snow blower, he even modestly admits to preserving "a patch of civilization" in the wild. When his son dies in an apparent overdose, Nils's first impulse is suicide. But when the son's friend reveals he was killed by a drug gang, and the police won't investigate, the Centrist Party's potential candidate wreaks his one-man vigilante justice.

    The Western spirit pervades the film without horses and sagebrush. It's the atmosphere. There are allusions to the modern vigilante sheriffs Dirty Harry and Bullitt. The characters have colourful nicknames. e.g., "The Chinese" is a Japanese Dane. The score features Morricone strings and a C & W ballad. Fargo is evoked in the landscape and the finale, where a flier falls into a kind of chipper. The snowblower leads a convoy like the old wagon train.

    The plot gives us a vengeful outsider restoring justice with his gun and noble steed (the snowblower, whose headlights give it the eyes and smile of a sinister face). He has a brother, a gangster who's now going straight, the reversal of this ideal citizen now going virtuously amok. The hero is quiet and steely but brutally effective, like every Shane. Like Shane Nils attracts the innocent, as the villain's kidnapped son snuggles up to him and asks "Do you know about the Stockholm Syndrome?" The kid is as self-aware as the film's genre is.

    Nils finds himself caught between two drug-dealing gangs, with opposite leaders. The locals are run by a Dan Duryea type, a cackling psychotic of mood extremes and violent outbreaks. He's a fop, with an opulent modernist mansion and lavish contemporary art, including a wall of Fischli and Weiss hand sculptures and a huge fractured horse painting. He calls himself The Count, dotes on his young son and is locked in torment with his divorcing wife. Like the classic moustache, his layered ponytail makes him a comic villain. The other gang is Old School Serbs led by a Dock Tobin type played with a rasp by Bruno Ganz and named Papa. He lives in a warehouse crammed with chandeliers and antiques like an Easterner's mansion. He's the Old Testament father — "a son for a son" — pitted against the modern Nils, a man of peace who can turn on the violence when necessary (e.g., to cleanse the temple). After the final gunfight at the snowplow corral the two old men ride off together, survivors of a war they didn't want but fell into. The old guys survive like the myth they relived.

    The title comes from the formal device of marking each death with a memorial title, the character's name and a burial cross. The repetition recalls the John Ford line, "plantin' and a-prayin', plantin' and a-prayin'." That's how justice comes to the frontier, civilization to the desert — any frontier, any desert.
  • I don't usually like it, when people compare other directors or movies to things QT has done, but in this case I'm going to support it myself. This movie is really funny and violent in a very good way. It might be easy to swallow and digest, but that's the point of this. Mix in a little bit of recent "action" Liam Neeson and you get a character everyone can root for (unless you're a bad guy ;o) ).

    You have to like your comedy to be a bit darker/meaner to like this. And if you do, you will have a blast like I did. This played many festivals which is an indicator what sort of movie and crowd this attracts. The general reaction was good, the audience loved it. Of course when a movie is (trying to be) "cool", there will also be people who are going to hate or think it's not up to other similar movies standards. Don't let that ruin the fun you can have though
  • This film is a real dichotomy on the one hand we have mass murders and graphic violence on the other hand is the light hearted way this is portrayed, dialogue between some characters shows a in-depth look at how we as humans interact. The main actor has a hidden side and other characters are a unique and eccentric bunch. The Scandanavian sense of quirky humour is deeply obvious in this film having the knack of just getting on with life and even an event of huge impact is neatly dealt with and they move on. It is entertaining throughout and the scenery stunning the best film for a long time. If you only watch the occasional film society type movie make this the one.
  • Well-made action-thriller with Stellan Skarsgård as a decent Swedish snowplowerer in the Norwegian mountains becomes an avenger for his dead son.

    Reminds me more of American revenge flicks like 'TAKEN (2008)', 'JOHN WICK (2014)' and 'THE EQUALIZER (2014)' than anything typically Scandinavian... Without ever getting too cheesy or 'poserish' which tend to happen at times when the Scandis attempt at this (for instance 'EXIT (2006)', 'GANGSTER (2007)' or '9 MILLIMETER (1997)' are examples of this when done poorly).

    But yeah here they get it right, with a solid and incredibly intense crime boss played by Pål Sverre Hagen and overall pretty stellar acting.

    A bit of dark comedy in the mix as well reminiscent of 'FARGO (1996)' and 'THE BIG WHITE (2005)'.

    Liam Neeson is in the talks of being the lead in an American remake and that seems like it would be the go to guy with the task, however not sure if it will get any better as it's just fine the way it is.
  • Warning: Spoilers
    'In Order of Disappearance' is set in Norway's snow-smothered back of beyond. The day after winning a Citizen of the Year award, dedicated snow-clearer Nils (Stellan Skarsgård) is told that his son Ingvar is dead. Although the police consider Ingvar just another junkie death, Nils discovers that his son was in fact a pawn in a drug deal gone wrong (BTW, this is a comedy). Nils determines to get his revenge, slaughtering first the men who actually killed Ingvar, then working his way up the chain of command until he finds the man who ultimately ordered it. One thing leads to another and it isn't long before Nils has sparked off a mob war...

    For a comedy about killing, there isn't much variety in the manner of deaths here: far too many people simply get shot (although I'll admit that death by snow-plough is something even 'Midsomer Murders' hasn't yet tried!) And the comedy gets a little too black at times - it's hard to feel sympathy for Nils when he's planning the kidnap of a mobster's school-age son. But those niggles aside, this is a terrific film with some nice performances - although with his slow delivery and minimal movement Skarsgård could still be playing his character in 'Nymphomaniac' (or, indeed, virtually every other film he's made), there are nice turns from Bruno Ganz and Pål Sverre Hagen as elderly Serb and neurotic young Norwegian mobsters, respectively.
  • Shootout at the Norskie Corral is the grand Finale of Snowplow Opera "in Order of Disappearance". Old Bruno Ganz is still full of P. and V. and Stellan Skarsgard is literally awesome.

    "In Order of Disappearance" (Kraftidioten, or "Power freaks" in German) directed by Hans Peter Moland is the surprise of the week at Berlin 2014. Stellan Skarsgård is a snowplow driver who will stop at nothing to reap revenge on his son's drug lord killers in this wildly rib-tickling Norwegian crime thriller. In a followup to his sympathetic listener in Nymphomaniac senior Swede thespian Skarsgård is suddenly a powerful star presence at age 61. Elderly Swiss actor Bruno Ganz, now 71, also amuses as an unlikely gun-toting Serbian Mafia godfather. The film title is a take-off on the familiar cast credit introduction: "in order of appearance". In this film the cast members are not named at the beginning, but as each one is knocked off in creatively brutal gangland fashion the name appears ~ in order of disappearance! ~ on a black screen as a death notice, with a small cross -- in one case, a Star of David as one of the victims happens to be Jewish (Horowitz). The body count is enough to fill the entire screen at the end -- nearly everybody who appears gets killed and disappears.

    Not only is this a rip-roaring actioner but also a heady satire of right wing politics, left wing politics, especially the socialist welfare state, and the very conventions of the Godfather genre. For example, the main villain is a tall handsome clean cut leading man type who is a practicing vegan and has all his henchman drinking bio fruit juices. "Graf", as he us called, is a totally callous killer but weeps tenderly when his his own son is kidnapped. This picture has it all, fast action, thrills and spills in a breathtaking setting of arctic snowscapes, raw and subtle humor, terrific deadpan acting, high concept everything and was applauded wildly for something like ten minutes at the end. In my book this should be the Golden Bear hands down with Stellan Skarsgård a shoo in for best festival actor with two outstanding performances back to back -- this and Nymphomaniac. However Berlin is not noted for awarding crowd pleasers, no matter how well made. Morose depressers with unknown actors destined for quick oblivion have a much better chance for prizes here -- however, as a certain Dirty Harry might say, "In Order of Disappearance" made my day and justified suffering through two other soporifics on Berlin festival day number 6.
  • petarmatic12 January 2015
    From the begging I was impressed with everything. Cinematography, beautiful vista sets, acting, plot and above all crisp and funny dialog. I especially loved Bruno Ganz trying to speak Serbian. Although body count is too high for a Scandinavian film, that what makes it a little bit more interesting then other films form that part of the world.

    I thought it was not possible to make such a film in such a organized state like Norway. This film proves me wrong. They even joke how Norwegian society is so well organized and civilized, how food is good in jails there and that they repair teeth well in jail.

    I strongly recommend that you see this film. It talks about interconnected European society in a funny and tragic way.
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