The 100-Year-Old Man Who Climbed Out the Window and Disappeared (Hundraåringen som klev ut genom fönstret och försvann)

Working on the railroad all the live-long day.

(2013) Comedy (Music Box) Robert Gustafsson, Iwar Wiklander, David Wiberg, Mia Skaringer, Jens Hulten, Bianca Cruzeiro, Alan Ford, Sven Lonn, David Shackleton, Georg Nikoloff, Simon Sappenen, Manuel Dubra, Cory Peterson, Kerry Shale, Philip Rosch, Keith Chanter, Patrik Karlson, Johan Rheborg, David Hogberg, Alfred Svensson, Eiffel Mattsson. Directed by Felix Herngren

Our lives have a certain texture and richness that we don’t really detect while we’re living it. Some of us labor in obscurity, affecting only those we’re close to and loved by. Others are destined not necessarily for greatness, but for greater effect.

Alan Karlsson (Gustafsson) is one such man. From the time he was a boy, he loved to blow things up, a gift from his father who was a bit of a revolutionary and died espousing contraceptives as the means to a better society. Alan’s penchant for explosives would eventually get him put into a mental hospital and later in life, into a retirement home.

It is in the latter place that one day – on his 100th birthday as a matter of fact – he just decides to step out of his window and leave. Nobody sees him go, and Alan manages to make it to the bus station and has just enough money on him to purchase a ticket to the middle of nowhere. While he’s waiting for the bus to come, a pushy biker sort (Sappenen) insists that Alan watch his suitcase while he’s in the bathroom. When Alan’s bus arrives, he absent-mindedly takes the suitcase with him. What Alan doesn’t know is that there is 50 million kroner inside the suitcase.

The bus lets him off in a one-horse Swedish town where the train no longer runs. Julius (Wiklander) watches over the train station and graciously takes Alan in for lunch and drinks, the latter of which Alan is more enthusiastic about. Their little party is broken up by the arrival of the pushy biker who wants his suitcase back in the worst way but the two old men manage to subdue him and lock him in a freezer.

Taking to the road, Julius and Alan meet up with Benny (Wiberg), a perpetual college student who has no degree yet despite having taken 920 credits in classes over 18 years but can’t make up his mind what he wants to do with his life, and later on with Gunilla (Skaringer), a lovely young Bohemian who is keeping a purloined elephant in her barn. Chasing them is Gaddan (Hulten), the leader of the biker gang whose pushy member had unwittingly given the suitcase to Alan, and Pim (Ford), the English drug lord whose cash it is.

In the meantime, Alan reminisces about his remarkable life which took him to the Spanish Civil War (where he saved General Francisco Franco’s life), the Manhattan Project (where his suggestion helped J. Robert Oppenheimer solve a critical problem with the atomic bomb and led to him having a tequila drinking session with then-Vice President Harry Truman), the Soviet Union (where he would eventually be imprisoned with Albert Einstein’s slow-witted brother) and the C.I.A. (where he would be a double agent passing useless information between both sides).

In that sense, this is a bit of a Forrest Gump-like film in which Alan drifts through history, and the parallels are a bit striking. While not quite as slow as Gump, Alan is certainly not the brightest bulb in the chandelier and kind of allows life to take him where it will, avoiding disaster often by the slimmest of margins.

This is based on a massively popular novel that is available here in the States. The movie version was a huge hit in Sweden where it recently became the biggest box office success of any Swedish-made movie in history. The distributor is the same group that brought the Millennium trilogy to American shores and is hoping for a similar type of success. There are plenty of twists and turns to keep those unfamiliar with the book guessing as to where the plot is going.

Certainly that sort of success would be merited here. I found it funny in a less over-the-top way than American comedies are these days. Comedies coming from America seem to be hell-bent on pushing the envelope of good taste and excess (which isn’t of itself a bad thing); this is more content to use absurd situations and serendipity to get its humor across. This is definitely more old school and those who prefer the comedies fast-paced and frenetic will likely find this slow and frustrating.

Gustafsson is one of Sweden’s most popular comic actors and we get a good sense why; his comic timing is impeccable and his mannerisms as the 100-year-old Alan are pitch-perfect. He gets able support from Wiberg who plays perhaps the most indecisive man ever, Hulten as the crazed biker and Ford as the apoplectic drug lord (Ford played a similar role in Guy Richie’s Snatch). Throughout Herngren hits the right notes and allows the comedy to happen organically rather than force things.

There are a few quibbles – the narration is a bit intrusive and there are some factual errors (for example, President Roosevelt actually died three months before the Trinity atomic test, not after) but for the most part the movie is pleasant and funny, though not life-changing. It’s the perfect tonic for a bad day and if you need further praise than that, you just must not have many bad days.

REASONS TO GO: Oddball sense of humor. Forrest Gump in Europe. Absurdly funny.
REASONS TO STAY: Narration is a bit intrusive.
FAMILY VALUES: Some crude humor, a little violence and some bad language.
TRIVIAL PURSUIT: Gustafsson estimated that if all the time he spent in the make-up chair was tallied, he would have been there three uninterrupted weeks 24/7 in the chair when all was said and done.
CRITICAL MASS: As of 4/22/15: Rotten Tomatoes: 69% positive reviews. Metacritic: no score yet.
COMPARISON SHOPPING: Cocoon
FINAL RATING: 9/10
NEXT: Danny Collins

Fast Five

If you don't go see Vin Diesel's new movie, Paul Walker will shoot you.

(2011) Action (Universal) Vin Diesel, Paul Walker, Jordana Brewster, Dwayne Johnson, Chris “Ludacris” Bridges, Tyrese Gibson, Sung Kang, Joaquin de Almeida, Gal Gadot, Matt Schulze, Tego Calderon, Don Omar. Elsa Pataky, Michael Irby. Directed by Justin Lin

I’ve never been a particular fan of the Fast and Furious series. Street car racing doesn’t appeal to me much and the scene behind it really doesn’t do anything for me either. While I’ve always liked Vinnie D, Walker is a bit on the wooden side for my tastes.

So I really didn’t expect to want to go see Fast Five – I waited until the previous entries in the series were on home video in most cases before seeing them (Tokyo Drift I never saw at all). So when I found out that Dwayne Johnson was in the new one, my curiosity was piqued – Johnson is to my way of thinking the future of the action hero.

The movie takes a sharp left turn from the previous entries in the series. As it begins, Dominic Toretto (Diesel) is broken out of the prison he was being sent to at the end of the last movie. The escape is a daring one and involves his sister Mia (Brewster) and her boyfriend (and Dom’s best friend) Brian O’Conner  (Walker) – the former federal agent from the first movie – driving muscle cars recklessly to the sound of pulsating rock/rap music going to extravagant lengths to get the bus carrying Dom to crash.

Mia and Brian flee to Rio de Janeiro to meet up with Vince (Schulze), one of Dom’s crew from the first movie. Wait – ‘scuse me, he’s more than that. He’s family (as everyone who works with Dom apparently is). They’re running low on funds and on the run from the law. Vince has a job for them – stealing some cars from a moving train. Child’s play, right?

Wrong. The cars were apparently impounded by the DEA and one of them has a chip in it that contains all the secrets of the operation of Reyes (de Almeida), the drug kingpin of Rio and he’s kinda anxious to get it back – so much so that he sends out head thug Zizi (Irby) to kill everyone who gets in the way. That includes the federal agents on the train, who are murdered by Zizi and his men, although Reyes – through his control of the police and the media – makes sure that Dom, Mia and Brian are blamed.

The death of the agents is enough to make the U.S. Government sit up and take notice, so they send their most ruthless, dedicated manhunter, Hobbs (Johnson) after the trio. Hobbs is like a pit bull; he doesn’t care about guilt or innocence, he just cares about getting his man. He enlists the help of patrol officer Elena (Pataky) whose husband was gunned down in front of her doorstep (slum), prompting her to enlist in the police force. She is at least for the moment non-corrupted, her motivations to carry on in her husband’s memory. At least, I kinda think so.

Being chased from every direction makes Dom realize that in order to get out of this he’s going to need to attack the corrupt Reyes directly – and the best way to hurt him was to take his money. Thankfully, the chip tells him where it all is – sitting in a vault at Rio’s main police station. They realize they’re going to need a team in order to pull it off.

They pull friends they’ve worked with from the previous films, including Tej (Ludacris), Roman (Tyrese), Han (Kang) – who died in one of the earlier films if memory serves – Gisele (Gadot), Leo (Calderon) and Santos (Omar). They will need to be at their best to take on the corrupt Rio cops as well as Reyes’ thugs and the best protection money can buy to get at the cash – not to mention having a very angry Hobbs, whose team was killed off by Reyes, on their tail.

Those who loved the street racing element to the first four movies are going to be very disappointed with this installment. There’s only brief mention of street racing and only one scene essentially set at one. No, this is more of a heist flick, all about the car chases, the beat downs and Vin Diesel in a wifebeater.

The action sequences are beautifully choreographed and executed. There’s a chase sequence on the rooftops of Rio’s favelas (slums) that is kind of nifty, not to mention a car sequence involving two cars working in tandem dragging a bank vault through the streets of Rio. The movie has a fluid tempo that only rarely lets up. While the other F&F films were equally action-packed, they were mostly with car racing scenes but quite frankly, you can only do so many of them before they start to look the same to the untrained eye, which is what most of us have.

Diesel is solid as ever as Toretto, a role that seems perfect for Diesel’s skill sets; lots of glowering, a strong moral core and a good deal of swagger. Adding Johnson – the Rock – to the mix is a masterstroke. He and Diesel have a good deal of chemistry even in adversarial roles. The two have a big fight scene in third real that just frankly rocks; I wonder if Diesel was hoping he might get a people’s elbow at some point.

Walker is an actor who has never resonated with me, at least to this point. I’ve always found him wooden, although there’s a certain charisma that he displays from time to time. Here, I didn’t see it at all to be honest; he didn’t really add anything to a role that was pretty much has no color to it as written anyway.

While having all these extra characters from the previous films might have some nostalgia value, it rapidly becomes a “too many cooks spoil the broth” with too many characters taking too much screen time. Still, many of them (particularly Kang and Ludacris) make the most of their time onscreen.

This isn’t particularly smart filmmaking but it is solid and quite frankly, in a very disappointing first quarter of the year this is a glimmer of hope that Hollywood was looking for. The box office was the biggest so far this year, the biggest ever in the month of April and the biggest opening weekend in Universal history.  The American public seems to be waiting desperately for a movie that just blows stuff up and in that respect Fast Five delivers. It’s not a great movie but it’s a solid movie and the box office seems to be more of a commentary on the desire of the moviegoing public to see a decent action movie than an endorsement on what is an above average – but not great – movie.

REASONS TO GO: Great action sequences and Diesel vs. the Rock makes a great battle. This is by far the best movie of the series to date.

REASONS TO STAY: More of the same; muscle cars, cliché dialogue and barely-clothed women with nice butts.

FAMILY VALUES: There is plenty of violence and some fairly big action sequences, a bit of sexuality and plenty of bad language.

TRIVIAL PURSUIT: During the end credits, each of the main actors is shown with footage from their previous appearances in the series.

HOME OR THEATER: Oh, definitely the theater. It’s big, it’s brainless and it needs to be seen on a big screen.

FINAL RATING: 6.5/10

TOMORROW: Saw IV