Reykjavík-Rotterdam Review

The funny thing about reviewing films not in the English language is that it can be all too easy to assume that just because you’re reading subtitles, you’re watching a work of major artistic quality. This can simply be because somewhere in your mind you make the equation ‘subtitles = clever’, or in slightly more complex terms, why would distributors bother releasing a film in a foreign territory if there wasn’t something special about it that will attract an audience?

Reykjavík-Rotterdam is an Icelandic thriller about a former smuggler who takes on ‘one last job’ when faced with considerable financial difficulties. The thing is, whilst it’s a fairly competent film in its own right, it’s not really clear what makes it stands out from your common or garden crime-heist movie (though in its home country, it won several awards at Iceland’s equivalent of the BAFTAs). The reason for this DVD release then, we can assume with some certainty, is to coincide with the soon to be released Mark Wahlberg film Contraband, which is a remake of this film, directed by its star, Baltasar Kormákur.

I had some problems with this film. For example, it was difficult to really root for Kormákur’s character. Kristopher isn’t particularly heroic and the trouble he causes his family is difficult to forgive. Not that films must have likable protagonists to be successful, not at all; however in this film, it’s somewhat alienating. I ended up rooting for the hired goon who terrorised Kristopher’s family – sure he was violent and horrible, but at least he was mildly amusing.

The plot is also overly complicated. What should be a fairly straight forward con-job plot is over egged unnecessary convolutions and layers of none-too intriguing intrigue. It’s also a fairly depressing watch, frankly, as misery upon misery is piled onto Kristopher’s family.

That said, there’s stuff to enjoy in the film for those curious enough to seek it out. Much of the film is set on a cargo ship which is an inherently interesting location. There’s a couple of exciting scenes, such as when the aforementioned ship is set on a collision course with the Rotterdam dock or the slightly random but well shot street shoot out. The ending is also pretty good, if a bit obvious.

If you find yourself loving Marky Mark’s latest and want to find out from whence it came, or perhaps you wish to discover what Icelandic cinema can offer (other than the otherworldly glory ofHeima by Sigur Rós), then by all means give Reykjavík-Rotterdam a go. Just don’t go expecting anything earth-shatteringly brilliant.