Posted by Brett Hamm
07. Mar, 2012
Opening in Melbourne cinemas on Thursday, Norwegian thriller Headhunters was adapted from the best-selling novel by Jo Nesbø (also the author of The Snowman, currently set to be adapted by Martin Scorsese).
The film stars Aksel Hannie as Roger Brown, a very successful corporate headhunter who’s lavish lifestyle costs more than even his hefty salary can cover. Worried that his gorgeous wife (Synnøve Macody Lund) will leave him if he can’t keep her in the lifestyle to which she’s become accustomed, Roger makes up his monetary shortfalls by stealing precious art on the side. But when he’s introduced by his wife to Clas Greve (Game of Thrones’ Nikolaj Coster-Waldau)—the perfect candidate for a CEO position he’s recruiting for and the owner of a very valuable and sought after painting—Roger gets himself in way over his head to chase the score of a lifetime.
An unexpected hit of last year’s festival circuit, Headhunters has already made significant waves in Hollywood. Summit has snaffled up the remake rights and current rumours suggest Mark Wahlberg will be joining director Sacha Gervasi for the predictable tinsel-town treatment.
Though by no means groundbreaking, Headhunters is a slick and stylish thriller that sticks to the fundamentals of its genre to deliver an unexpectedly enjoyable film. Performances are solid and though action-thriller clichés abound, everything is delivered with enough swagger and panache to make Headhuneters a wholeheartedly entertaining experience.
Headhunters opens nationally on Thursday 8 March.
Milk Bar Mag asks James Nolen, director of the Fashion On Film festival, about his love of fashion and its designers.
Pencil in David Bowie Is, a doco exploring the iconic singer's career.
It comes as no surprise that Melbourne has cheekily emerged as Australia’s digital-scene capital at the fourth annual Pause Festival.
Milk Bar Mag got to speak with action movie icon Fred Williamson about the premiere of his latest action flick Atomic Eden for Monster Fest.
Photographer James Voller continues his exploration of the intersection between installation, photography and documentary media in his latest exhibition.
Mental illness and the power of friendship gives this production by The Melbourne Theatre Company real heart.