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best movie i've ever seen.

In truth, there is barely enough story here to make a film.

The film never slows down or bores, plunging from one harrowing sequence to the next.

An old-fashioned movie made with new-fashioned finesse.

2012:After seeing the pulp thrill ride adaptation of Jo Nesbo's Headhunters,I saw a BBC doc on Nordic Noir that showed intriguing clips of a non-Nesbo adaption. While not being able to find the film anywhere,I was able to open the descriptive,hard-boiled original novel by Arnaldur Indridason.2017:Coming up to 1,500 reviews,I began looking for films I've been wanting to see for years,and after again looking at Amazon UK,I finally got the chance to open the jar.The plot:Sent out to investigate the murder of Holberg Jónsson,worn-down detective Erlendur finds the killer to have left everything as it was. Emptying all the shelves and draws, Erlendur finds taped to the back of one a photo of a grave. Locating the grave, Erlendur begins to learn of a murder that took place thirty years ago,and the trio of friends Jónsson was with. As he starts investigating the links from decades ago, Erlendur starts mapping out the genetics which have laid in the dark heart of the town for decades. View on the film:Adapting Indriðason's novel two years before they would join up to make the slick (non-adaptation) Reykjavik-Rotterdam/Contraband, the screenplay by Baltasar Kormákur is incredibly compact,with Erlendur unearthing the origins of the photo in exciting investigation scenes,which also open the jar to Nordic Noir's major themes of corruption in the local community and government projects being linked to dirty deals. Unearthing the mystery at lightning speed, Kormákur makes the Noir mystery gripping hard-nosed,but also gives the title an air of needing an extra 30 mins,with the brittle,Noir loner relationship between Erlendur only being given a rough outline to what it could fully offer.Sharply contrasting the smooth style they gave to Reykjavik- Rotterdam, Kormákur & cinematographer Bergsteinn Björgúlfsson give Erlendur's photos an ultra-stylised rawness that shoves dirt under Nordic Noir nails,via superb over-saturated colours covering the murder scenes in dour, grisly chemical yellows and blood reds,which are smashed against crane shots panning over the corruption which has covered the town. Cracking open jars to the town secrets, Ingvar Eggert Sigurðsson smokes Erlendur with a brilliant,grubby performance that rages from Erlendur giving all a stiff cold shoulder,who try to stop him opening the jar city.

OK, I don't usually write these things. All I can say is, if you want a very suspenseful thriller, set in a wonderful, chilling environment, watch this, it will keep you guessing till the end. I wish there were more like this one, where we get a wonderful surprise of a movie. The scenes near the ocean are very reminiscent of N. Ireland, where I have spent much time. The people there and in Iceland live a different life, they are very, very hardy. Livestock sometimes lives in your garage or living room, depending on your preference. But murder still exists, and the rural murders can be most complicating because many of the killers have lived with centuries of inbreeding, which can cause severe, deviant behavior. That is why is this great movie, we see the twisted, unknown, actions of a demented or sane (?) mind. Enjoy! It's a great view.

Is this a homicide detective or a bespectacled primary school teacher i see before me in that thick wool knit jumper? With his frumpy dumpy side kick. Who looks like she might have knitted the jumper for him. Turns out he – Erlendur – (Ingvar Eggert Sigurðsson) is no pussy though. Hard as a bag of hammers with his glasses off.What more can you want? Murder "thriller" set in chilly Iceland. Usually I don't do crime capers. But gets a vigorous nod of interest simply for being set in Sigur Rosland. Merely point the camera at all that moody isolation and bleak melancholy – and you've got wild and windy (and woolly) scenarios immediately on tap. Elemental my dear Watson.A choiry backing track gets a bit annoying piping off a portentous kind of churchy religiosity.Understanding information-ladened subplots while reading subtitles is tricky/tiring/tiresome.In the end this is standard issue telly crime, the kind of police procedural that rolls out the ITV pop-slot ad-nausem at 9 o'clock (although this was shown on BBC 4, the go-to channel for miserable subtitled Scandinavian crime drama) Mind you, Inspector Frost wouldn't tuck into a plate of singed sheep's head for his supper (while reading a bit of Bible) But this is Iceland after all – the land of ice and idiosyncrasy.

So far as I know this is the only Icelandic movie I've ever heard of let alone seen but I saw some positive reviews in the press and decided to give it a try. I was unable to prevent myself comparing it to a recent Russian film Koktobel; both involve journeys, one tangible and one metaphorical and neither film is going to boost the tourist industry in their respective countries. One gets the feeling that if Samuel Beckett were to specify landscapes for his depressing plays the one depicted here would be ideal. One looks in vain, if not desperation, for a sliver of colour to temper the drabness. Neither is anyone having much fun so that a break in Siberia would be a step upwards. The main mystery is well handled and the detective well drawn though there is little to make him stand out from the crowd unless you count his penchant for dining on sheep's head from which he removes and eats the eyes with relish. Having seen one example of Icelandic film-making I'd certainly consider others.