5 out of 5

Director: Richard Holm

Director Holm returns for another Johan flick affected by the Estonian storyline – an organized crime group involved with normal enough GSI issues – prostitution, drugs, racketeering – but maintaining their operation’s stability with an easy willingness to slip into nefarious methods when necessary.  While the Falk films overall do follow something of a formula with one or two variations, from movie to movie there have been subtle methods found for keeping things interesting and entertaining; creator Anders Nilsson keeping the first part of the series more closely linked to politics and class wars than allowing for unnecessary character dramatics to fill in what American audiences might deem dips in tension or action but here are used to follow the procedural moments.  So when the movies allow for some genre theatrics, the juxtaposition is pretty awesome for followers of these titles, and increases the adrenaline rush notably, as you can’t be certain how things are going to play out.  Score one for the super slow burn effect.

‘Karayan’ is sorta hilariously a retread of ‘Leo Gaut’, another Holm-directed Estonian movie involving Johan’s stepdaughter put in harm’s way, but that entry was riveting and the echoing of the plot and structure here only just underlines how we’ve been shown that shit is allowably stirred in the, eh, Johan-i-verse…?, so that when the pieces start stacking up, there’s nerve-wracking potential for relevant bodies to fall.  ‘Gaut’ had the weight of a pretty hefty performance by Peter Andersson.  Eklund’s portrayal of Falk has been well-nuanced from flick to flick, but scripts do vary between giving him a typical smirky rogue hero role to the more interesting stoicism of early films that hinted at a past that’s finally explored here, or moments of full-on jerkhood where he acts rash and jumps out windows.  But it’s rare that Eklund’s been given the opportunity to really dig into an emotion for more than one scene, and the hunt for family here finally pushes him over the line to not just flashes of rage, but a sense of momentum unseen in full form since the ‘prequel’ flicks.  Jakob’s emotional switch (most notably when reviewing some security footage of the kidnapping which kicks off this whole affair) is effective and believable thanks to 9 previous movies establishing this world; it doesn’t just feel like a change for the sake of revitalizing the series, but rather the explosion that the tightly-wound Johan has always hinted at being one or two ticks away from.

Nina’s (the stepdaughter) father effs things up in trying to impress his ex-wife and kid, and doesn’t pay the wrong people, resulting in Nina’s disappearance… which he unwisely tries to cover for while gathering more money.  But Johan’s on to the inconsistencies, and though officially taken off the case – with which GSI can get involved once the Estonian link is uncovered – once it’s proven to involve kin, he of course pursues the matter on his own.

Two things I appreciated about this: one, Helen gets a full role.  Johan can’t shut her out on this one.  Marie Richardson has shone in one of the strangest relationship roles I’ve seen, considering where it started and how often Falk duffed things up, but she’s surpassed the put-upon woman role deftly and, as with Eklund, with skillfully restrained acting in the select scenes she’s given to respond or express.  I couldn’t help but smile at her response to Johan at film’s conclusion.  So un-Americanly awesome.

Two: This was a very organic plot.  The ‘formula’ often interposes our main character as a result of his rashness; here, as with Helen, Falk had to be involved, and his decisions all help to move the story forward and actually assist the case.

And let’s toss in a three, which has been a highlight of the entire run: the important, yet well-woven character arcs.  Patrik’s pending decision hasn’t been bullshit hinted at previously (which, again, would’ve been an American move), but we’ve been able to see it in his face. We also keep seeing minor parts float in and then back in films later, supporting the well-built world of Falk.  And Sophie keeps tossing more dirt on herself with every scramble upward, and you too will utter an ‘oh shit’ after her epilogue.

Uh, lastly, four: Bengt Nilsson.  His music has been notable when used, but some films drop it completely.  I commend the composer and crew on this entry for incorporating it anew, finally reworking the JF themes as befits a sequel.

And five: the end.  I almost want to force this movie on non-Falkers ’cause it’s pretty awesome (props to Holm or whoever handled the camera – the climax sequences are expertly captured), but this would probably still seem tame to fresh eyes without all the build-up.  So really, we need someone important to promote Falk in the US so these things can get proper re-releases and I can talk to more people about them.  I’d promote them, but I’m so busy with all of my other important duties, like masturbating to midget horse porn, so it’s an impossibility, I’m afraid.  You’re lucky I can get these reviews out.  (LUCKY I TELL YA)