stockholm stories movie reviews – Crawl, Stuber, Wild Rose, Stockholm

Lars negotiates with the police chief, Mattsson (Christopher Heyerdahl), and the prime minister, Olof Palme (Shanti Roney), who are portrayed as stoic caricatures of Scandinavian bureaucratic indifference.

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stockholm movieEthan Hawke (left) and Mark Strong in a still from Stockholm (category IIB), directed by Robert Budreau. Stockholm is an unevenly paced not-really-a-heist film and neither Ro nor Brandon believe the man all these risks are being taken for deserved it one damn bit. The pair discuss Ethan Hawke’s ability to play almost any kind character with conviction but this one may just be his most over-the-top in a while. And more than a few minutes were spent discussing how the change in where audiences prefer to watch movies, especially indie films like Stockholm, should play a bigger part in who’s chosen as the distributor. One thing is certain though, as far as Ro and Brandon are concerned, this ridiculous story-turned-film doesn’t work if you change a single actor; including the secondary characters.

The entire production suffers, too, from the ghost of a similar, and iconically more successful, venture hanging over its head. That Stockholm” is no Dog Day Afternoon” should go without saying. But if you’re willing to take the movie for what it really is — a fairly generic caper inspired by, rather than based on, actual events — you’ll find just enough to appreciate.

By Claudio Giovannesi. The financial incentive of the criminal life is painfully clear in Camorras barn” (La Pranza Dei Bambini – Piranhas), inspired by the internationally renowned Gomorrah” which was based in the novel by author Roberto Saviano The Blood Game – The Children of Camorra. The film is a hit coming-of-age drama, whose script – written by director Claudio Giovannesi in collaboration with Saviano and Maruizio Braucci – was rewarded with the Silver Bear at the Berlin Film Festival.

Scott Aversano and Will Russell-Shapiro are exec producing and overseeing via Aversano Films along with Jason Blum via Blumhouse Productions. Nicholas Tabarrok will produce via his Darius Films banner, with Budreau via his Lumanity banner, and Jonathan Bronfman via his JoBro Productions banner. William Santor, John Hills and Andrew Chang-Sang are also executive producing for financier Productivity Media.

This is the kind of movie that may disappoint thrill seekers who think it will be another Dog Day Afternoon,” but will encourage a potential audience interested in human psychology, particularly in the surprising ways that people can react when in a situation that should inspire nothing but terror. Ethan Hawke and Noomi Rapace play off each other, convincing us in the audience that in spite of all logic, they get to do some smooching as the crisis proceeds day by day.


June 28, 2019 —The Flyway Film Festival has a reputation for its eye-catching annual poster designs. For this year’s festival, taking place October 10-13, 2019 along the shores of Lake Pepin, the design is pretty groovy. You might even say it’s far out.

It’s not the first time Hawke and Budreau have worked together. In the filmmaker’s Born to Be Blue” (2015), the actor portrayed the troubled jazz trumpeter Chet Baker. But Hawke has a lot more fun here, playing a Swedish-born, Texas-raised outlaw who swaggers his way into a bank vault and, inevitably, his victim’s arms. (In some ways, Lars feels like the stylistic cousin of Jolly the Pimp, Hawke’s scenery-chewing role in the otherwise lifeless Valerian and the City of a Thousand Planets.”) Yet Stockholm” isn’t just a romp; when Lars loses control of the situation, the worry lines in Hawke’s forehead reveal a scared man, the once boyish actor bringing depth to a character who could have been just a cartoon.

Ethan Hawke is annoying till the point of unwatchable. The story seemed interesting but after 20 minutes i was done and couldnt care less. With the robbers and hostages locked in a vault and the police drilling through the ceiling, Budreau ratchets up the tension.stockholm movie

The logo design is the result of a collaboration between Flyway executive director Diana Masters-Penegor and Twin Cities graphic designer Jon Hunt. The design features a bright red flower with a film reel as its center and a strip of film as its stem. The colors and font call to mind 1960s psychedelic artists like Peter Max. This year, after all, is the 50th anniversary of Woodstock.

As the two criminals settle in for what will be five days and the police occupy the second floor of the bank, Lars both terrorizes and comforts his two hostages, Claire (Bea Santos) and Bianca Lind (Noomi Rapace). As a wife and mother, Bianca would not seem the type of person who would be taken in by Lars, except that Lars is the kind of person that women say they’d like to have fun with but not marry, while Bianca’s husband Christopher Lind (Thorbjørn Harr) is the groomed, steady type, the marriageable kind, taking care of the two kids during the hostage crisis. In the film’s most absurd moment, when Christopher shows up at the bank to see what his wife is up to, Bianca patiently gives him a fish recipe so he can return home and feed himself and the little ones.


When Gunnar likens Lars to a child, Bianca recognizes that’s so and develops sympathy and even romantic feelings for this immature man, which leads her to tell the Swedish prime minister in a phone call to let the robbers leave with the hostages and not try to thwart their escape.

Pioneered in 2008 by Rick Vaicius and Masters-Penegor, the Flyway Film Festival soared onto MovieMaker Magazine’s prestigious list of 25 Coolest Film Festivals in the World” in 2014. Masters-Penegor was an integral part of that achievement.

The jokiness is a double-edged sword. In cinema, bank robberies are often frenetic reflections of the filmmakers’ desperation to make ancient clichés come alive, so Budreau’s studied casualness provides a kind of relief. He understands that the story of the Stockholm robbery has inspired countless crime narratives, and so he treats it as a framework for horsing around—a way of saying we assume you can’t get enough of these tropes.” Having a particularly high time is Ethan Hawke, who stars as Lars Nystrom (the robber’s real name is Jan-Erik Olsson). As Lars, Hawke wears a ridiculous wig and sunglasses and moves in big gestures that are unusual for this interior actor. Lars, rather than Hawke, is always telegraphing, as the former’s enthralled with American pop culture and is desperate to be a tough guy, though his essentially sweet temperament will figure into his arrest and capture.

Drowsy in feel and muted in colour, “Stockholm” is lightly amusing and watchable – mostly thanks to Hawke – but never makes the case that this is a story that needed to be told, with or without laughs. The Oscars have a long history of awarding war films in this particular sound category.

The smooth, if generic, filmmaking technique plays it straight while the deadpan humor fills in some details. Rapace has an effective bit of dialogue when the teller instructs her distraught husband in the proper method of cooking herring while she’s otherwise engaged. Some of this works, though a lot of Stockholm” feels indecisive. For a supposed examination (in whatever key) of the entanglements that became a syndrome, Stockholm” really doesn’t get into it much psychology. The situation, as presented here, isn’t unbelievable, exactly. It’s just oddly dull.

More broadly, all of the hostages came to see Olsson and his buddy Clark Olofsson as closer allies than the police — even when the criminals arranged to shoot one hostage in the leg, so it would appear he’d been killed (he professed to have been grateful they’d only chosen the leg), and when they put nooses around the hostages’ necks to stop the police from pumping the bank vault full of tear gas, lest the victims collapse.

Ethan Hawke and Noomi Rapace star in this very entertaining crime film based on the true but absurd 1973 Swedish bank robbery and hostage crisis that gave us the phenomenon of Stockholm Syndrome, whereby victims come to sympathize with their captor. Funny and agile.” -Hollywood Reporter. DCP. 92 min.

Stockholm has repeatedly inspired directors to capture its beauty on camera. Christie Petrakopoulou rounds up some films that were set in or around Stockholm. Sections and prizes are subject to change at The Stockholm International Film Festival’s sole discretion.


In this special program of long shorts,” two brand-new documentary films highlight the beautiful Flyway region. The eclectic array of independent films will screen at three locations along the Mississippi River in Wisconsin: Big River Theatre in Alma, WideSpot Performing Arts Center in Stockholm, and The Minema in Pepin.

Leave it to Ethan Hawke and Noomi Rapace to turn in stellar performances with any material they take on. They are the reason to check out Stockholm, a true crime 90-minute hostage flick that is the kind of film with the balls to proudly wear its direct double-meaning title non-ironically. This speedy caper yarn is all the more intriguing for its infamous subject matter but it unfortunately doesn’t do much to probe it and mine it for all its worth. Nevertheless, the cast do a terrific job and Robert Budreau keeps things moving at an always more than absorbing clip.

Absurd enough to retain its comedy edge, the fun and games begin to dissipate along with the Chief’s Mattsson’s patience. While the bank robber starts out on top, managing to corner the authorities including the President, it’s not long before the police department tire of his insolence. Both sides reluctant to back down and unwilling to compromise, negotiations break down forcing police to infiltrate the hostage situation by any means possible.

Far more characteristic is the bank robbery and six-day hostage crisis that the syndrome was originally named for. It took place in 1973, and Stockholm” offers a loose, semi-fictionalized re-enactment of the event, starring Ethan Hawke as the robber and Noomi Rapace as his hostage-turned-ally, that suggests Dog Day Afternoon” made by a filmmaker who can’t decide whether he’s pitching a docudrama or a sitcom. The opening title says Based on an absurd but true story,” yet there’s nothing absurd about the facts. Improbable? Yes. Hapless and desperate? Most definitely. But the absurdity — the impulse to giggle — is mostly there in the eye of the writer-director, Robert Budreau, who collaborated with Hawke two years ago on the entrancing Chet Baker biopic Born to Be Blue” but here comes off as a far less sure-handed filmmaker.

Written and directed by Robert Budreau, Stockholm” is billed as the absurd but true” story of the 1973 crime that introduced the world to Stockholm syndrome, the psychological phenomenon in which a captive forms a bond with his or her captor. Set in the Swedish capital, the story — which sounds like the plot of an early Quentin Tarantino movie — centers on an attempted heist, hatched by a sympathetic criminal (Hawke) who sings pop songs during the siege. For the most part, Budreau pulls off an entertaining dramatization of events, thanks largely to his charismatic lead.

All three films had a Swedish premiere in 2009. The first story follows journalist Mikael Blomkvist (Michael Nyqvist) who with the help of a troubled young hacker, Lisabeth Salander (Noomi Rapace), tries to solve the mystery of a girl that disappeared in 1966. In the second sequel, Salander is accused of a triple murder and Blomkvist tries to clear her name.

He gets a great deal of help from Hawke, who takes hold of the movie from his first scene to last. Once Lars starts shedding his disguise, a clearer picture of him and his desires emerges. He sweetly hangs onto the increasingly skeptical Gunnar while also creating an implausible bond with Bianca, who remains a sketch at best. Lars’s manic energy starts to look a lot like vulnerability; his febrile charm feels like the real thing. By the time he is staring soulfully at Bianca — Hawke widens his eyes and drains his face of its earlier warring emotions, leaving a look of childlike, near-saintly awe — it’s hard not to wonder if this is a movie about Stockholm syndrome or an advertisement for it.

By Richard Stanley. Nicolas Cage follows up the festival favorite »Mandy« with a very awaited filmatisation of H.P. Lovecraft‘s Color Out Of Space, one of the author’s more horrific stories. Cage plays a family father who lives in an old farmhouse with his wife, his children and some alpacas. One day, a meteorite crashes on their site, which has mysterious and frightening consequences. Classic Cage moments meet body horror and 80s nostalgia in this neatly flipped sci-fi horror movie.

Summary: Stockholm is based on the absurd but true story of a 1973 bank heist and hostage crisis documented in the 1974 New Yorker article The Bank Drama” by Daniel Lang. The film follows Lars Nystrom, (Ethan Hawke) who dons a disguise to raid a central Stockholm bank. He then takes hostages in order to spring his pal Gunnar (Mark Strong) from prison. One of the hostages includes Bianca (Noomi Rapace), a wife and mother of two. Negotiations with detectives hits a wall when (at the request of the Prime Minister) the police refuse to let Lars leave in a getaway car with the hostages. As hours turn into days, Lars alternates between threatening the hostages and making them feel comfortable and secure. The hostages develop an uneasy relationship with their captor, which is particularly complex for Bianca, who develops a strong bond with Lars as she witnesses his caring nature. This connection gave rise to the psychological phenomenon known as Stockholm syndrome”.

John Haptas and Kristine Samuelson’s gripping Life Overtakes Me, the only short in this category with Netflix’s muscle behind it, feels as if it could benefit from simply reporting on a relatively unknown matter: the dissociative condition known as resignation syndrome, a response to the trauma of refugee limbo that has been predominantly observed in children from the Balkans now living in Sweden with their families. The filmmakers vigilantly depict the day-to-day routines of parents struggling to feed their comatose children and keep their limbs as lithe as possible. But the short doesn’t offer enough context about the struggles that brought these families to Sweden and, like St. Louis Superman, it has one read a little too much between the lines, sometimes literally so, as information relating to the asylum process and evolving opinions about resignation syndrome is largely conveyed via on-screen text.

By Alejandro Landes. On a distant hilltop, eight armed children watch over their American hostages and a lent milk cow. They adhere to hedonism, partying and football. But when the group is forced into the rainforest, the game goes into bloody seriousness. Colombia’s Oscar nomination is a feverish survival thriller that cuts its own path through the jungle and festival awards have followed director Alejandro Landes closely in his tracks.

Ethan Hawke is the best thing about Stockholm,” but the moment he strides into a bank things begin going haywire. With strained comedy, unearned sobriety and Bob Dylan on the soundtrack, the movie revisits the 1973 Swedish robbery that inspired the coinage Stockholm syndrome. That term is often used when hostages — or victims of any kind, including of relationships and of long novels — develop an identification with their captors. Hawke plays Lars, the robbery’s would-be mastermind, who appears too ridiculous to be persuasively dangerous but who is also meant to be somehow irresistible.

Wild Nights with Emily, ” written and directed by Madeleine Olnek, will screen at the WideSpot Performing Arts Center in Stockholm, Wisconsin at 6:30 PM on Saturday, October 20th, as part of the 11th Annual Flyway Film Festival.

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