ShangLuda Admirable film.

Erica Derrick By the time the dramatic fireworks start popping off, each one feels earned.

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

Fatma Suarez The movie's neither hopeful in contrived ways, nor hopeless in different contrived ways. Somehow it manages to be wonderful

dragana-dabovic I had no opportunity to watch English version,but judging by the choice of the main actor I believe that it is very good. I was lucky to have chance to follow Swedish show in which Detective, Kurt Wallander resolve cases more by his heart and by his deep understanding of human nature than by the contribution of forensics and technology. Wallander is not only Detective, he is lone Intellectual who lives in the house on the beach, entoured by books and classic music records, devoted to the goal to find and maintain the fine line between Good and Bed,Lie and Truth, before everyone, in himself. That's why he goes up to the discovering of deepest motif of each case , realizing sometimes, grace to his deep understanding of the human soul and grace to his moral sense that the murderer is often a victim.He, himself is not perfect , he often makes errors in social connections, but he knows that making mistakes is inevitable part of the human soul and he completely undertakes consequences of his acts, not avoiding the suffering and the sadness. The show is colored by the "noire" atmosphere given by the scenery of empty beaches, tiny interiors, obscure lightening, the threatening waves of magic Baltic Sea that all serve to support the sense of everywhere present possible tragedy, inevitable due to imperfection of divided human nature. As for acting, the main Actor,can not be anymore distinguished from his Role in the Show that is the ultimate level of ingenious acting. The only remarks that I have are unnecessary copying of some of famous iconography of CSI Miami that can be recognized from the second season, that lowers my opinion from perfect to "close to perfection." Except for this, the show took my all heart and my soul.

Aki Rantakolmonen First of all, greetings from Finland, Kurt Wallander! I usually do not watch a lot film series, but this is just so much different. Better. Much better than ANY other detective series out there. Right now one of our TV-channels are presenting a Wallander movie on Saturdays every week! I'm always eagerly waiting another one and it's easily a highlight of my whole week/weekend at the moment! Krtister Henriksson is the main reason. Absolutely fantastic actor. He really may be the most memorable and impressive character which I've ever seen. He's calm and clever. I have always good feeling when I watch him playing the role of Kurt Wallander. It's.. Almost like a magic.Of course the script and screenplay is also very important factor in detective stories. Of course there's couple things here and there which are just slightly impractical or clichés but that actually hasn't never bothered me.Conclusion; After every movie, I'm happy. And when Wallander usually just walks away at the end of the movie and music starts playing, I feel great, I smile and get shivers. What could be better feeling after watching a movie? I'm absolutely loving these movies. Krister Henriksson, thank you for being Kurt Wallander for all these years. Golden times that we will never forget.

kikkapi20 There isn't enough good things you can say about this series. The casting is perfect, better than any series that I have ever seen on Netflix, the chemistry and interaction between the characters is meaningful, aids the story-line and always likable. Every episode brings everyone together and you end up pulling for the team every time! This is who-dunit at its very best and sets a high plumb line to this genre. There is no personal drama, personal fluff that typically characterizes a series. Each episode begins with a end in mind, and what an end every episode is! What a shame it came to an end. I shudder to watch the series again, and hopefully it won't shatter the magic of visiting it the first time. This truly does justice to Swedish actors, and the scenery is attractive and amazing. This is a must watch for fans of detective series genre. While Jeremy Brett's Sherlock Holmes will always take the cake, Krister Henriksson's Wallander leaves nothing behind!! 10 OUT 10!

robert-connor Both the first series of Swedish TV's Wallander and the second collection of British TV's interpretation have recently been aired on British TV, and whilst they share a number of elements and qualities (locations, excellent filmatography, thoughtful and impressive 'takes' on the central figure of Kurt Wallander), it's the differences that seem to separate a good television drama from an outstanding one.Obviously the two productions differ in a number of basic ways and it's worth highlighting these as a given. For the most part Swedish Wallander uses Mankel's stories as inspiration, creating unique plots per episode, whilst British Wallander uses the source material and thus far has for the most part faithfully adapted 6 of Mankel's books (interestly the choice has been to adapt out of sequence, although the original stories were also published out of sequence, in Britian at least). An exception is the depiction of Kurt's father and his struggle with dementia, which logically has to progress through the overall TV series.A second key difference is the interpretation of Kurt Wallander's relationship with his daughter. Swedish TV puts Linda into the police force from the outset, and uses this device to explore their legendary troubled relationship with the added frisson of professional, hierarchical tensions. Also into the mix is the relationship between Linda and her colleague Stefan Lindman. British Wallander maintains the original Linda/Kurt story arc, with Linda not yet having enrolled for police duty.A third difference is the inclusion/exclusion of the Ann-Britt Höglund character. It seems the Swedish version quickly came to view this character as unnecessary within the looser story structure, as she is dispensed with well before Series One concludes. For British TV Höglund remains integral, just as she is in the books.However, setting aside these givens, there are a number of factors which set the two interpretations apart in terms of quality, success and viewer experience. British Wallander is quite pacey, moving the story along briskly from scene to scene. Whilst this mostly works, it does occasionally occur at the expense of scene and/or character development - the camera (and therefore the viewer) is forced to follow Kurt, leaving other characters as cyphers. This is most notable during scenes with colleagues at police HQ. Swedish Wallander adopts a slower style, allowing characters and stories to develop and unfold with greater subtlety. This approach leads to a second and quite fundamental difference, and it is this element that underlines the superiority of the Swedish Wallander. The combination of writing, direction and editing for a slower pace allows the Swedish actors to effectively 'do less' and achieve more. Accordingly, Henricksson, Bergman, Sällström, Rapace et al are repeatedly given the time and direction to use economy and skill to enable the viewer to understand what they are thinking, feeling etc. The final episode of Series One was a particular example of this, with all concerned but particularly Sällström and Henricksson underplaying beautifully to create scenes of desperate sadness, bewilderment and loss whilst actually 'doing' very little. In comparison, a combination of misjudged casting and actors being let down by script and scene construction in the British version means for the most part the viewer receives less reward. Branagh, Warner and most notably McCabe as Nyberg are the exceptions, the former not least because Wallander remains the prime focus through the British drama, and is therefore given more time, scene-by-scene, and Warner because he is quite simply an experienced and clever film actor. Yet it is McCabe who shines, underplaying beautifully, especially during scenes in Episode 4 - The Faceless Killers.Views on casting are always contentious. Suffice to say, the Swedish series has somehow managed to secure a host of clever actors who know a thing or two about camera work, and particularly scenes in close-up. From the moments of occasional humour gratefully received from Mörck's Ebba and Gunnarsson's Svartman (an incidental and unsung masterpiece of a performance) to the brilliance of Henricksson and Sällström, it's the Swedish production which holds the treats and subtleties and warrants repeat viewings.Let's hope the BBC transmits Series 2 as soon as possible, and let's also hope the absence of Rapace and Sällström doesn't diminish what has been an excellent television production.