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To me, this movie is perfection.

Excellent adaptation.

If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

When I attended a screening of EM/HtK, it was poorly attended. That may because of the blizzard that night, or it may have been because a popular on-line site of movie reviews gave it a mere 53% on their Lettuce meter. At the time, their highest rated film was The LEGO Movie, and that, I think, explains this movie's poor reception in the US.It's a famous truism among Hollywood producers that "People don't go to the movies to get depressed," and Americans might've liked this movie more if, after all the mayhem, the female lead and the young desperado had ridden off into the sunset and were last seen walking down a beach at sunset and holding hands.But for those of us who admire realism, not cartoon fantasy, this is an extraordinarily gripping movie. As Europe suffers through the effects of the IMF's austerity penance, unemployment among young people in some nations approaches 50%, and in such circumstances they turn to crime. This is the case not only in Madrid and Athens (and Detroit), but as people migrate north, everywhere, including Stockholm, where this movie is set.Actor Joel Kinnaman's role is diminished from the first movie in the series, and it's also less interesting, but the rest of the cast more than makes up for this.¡ ≥ SPOILER ALERT ≤ ≥ SPOILER ALERT ≤ !If you have not yet seen EM/HtK, please read no further.The only false note in this grim movie is near the end, where the two sympathetic characters, Nadja, the young woman who has been forced into prostitution, and Jorge, the guy who begs his dead mother for forgiveness for all his misdeeds, fall in love but are tragically gunned down by a shotgun-wielding assassin from the mob. Getting blasted by a 12-gauge at point-blank range would, in reality, have left her viscera splattered across the room, and when the guy takes a load of buckshot in the upper back, he miraculously does not go into shock or even cough blood. Instead, as they are wheeled into the ambulance, they smile and make dewy eyes at each other.It's a mawkishly sentimental scene in an otherwise uncompromising movie.

The good news is that most English speaking haven't read the books, which are extremely good, I've re read them more than five times. And here lies the problem..... Since I've read the books I know the plot, which somehow only pops up here and there in the movie making you sit and ask WTF are they doing that for ? This movie is a follow up on the first book/movie and have almost nothing to do with the second book. This review goes for the first movie as well. Worth watching (goes for both movies) if you haven't read the books, stay away from them if you did (goes for both movies), it will only make you confused and angry.Buy the books instead!

Well, the first half hour was rather dull, but then the events started to roll and scenes with with chases and betrayals began. This time, the focus is on other characters, but their reasons and acts were logically motivated (apart from the depiction of the Swedish police who were always long time and several steps behind). The characters are more trivial than in the 1st part, and bringing moments with remorse into the lives of hardened criminals was not very convincing; I liked most Fares Fares as Mahmoud.The film is okay and if you yourself are okay with seeing a film made in Sweden with only a few Swedes in it, and you avoid of pondering why foreign criminals can act freely without having proper sentences and later being expelled, then you are a right viewer.

Yes, this was actually better than the first part of this trilogy; this film doesn't show a lot of sappy scenes where all trauma lies explained - all childhood related - and the start of the film, where three parallel stories unfurl, is quite exciting. Still, it all dribbles down to one fatal flaw that people like Shakespeare, Akira Kurosawa and John Ford realised: if you use simple stereotypes and decide to tread the path that says "all bad guys must go down", you must have a twist on it. Here, there is none, and the film rots from the half to the end, where script, tempo, dialogue, and everything else suffers but lens glares are prioritised. Oh, well.