Here's more of that Scandinavian Noir that's currently en vogue, although this time around containing much humour, an attribute you'd be forgiven for thinking was largely absent from the genre. Napoleon-complexed Roger Brown (Hennie) has a successful job as a corporate headhunter but also moonlights as an art thief in order to pay for his lavish lifestyle and ensure his Amazonian wife Diana's (Lund) happiness. She wants a child, he's too tangled in the double-life web he's woven to really know what he wants, but when an opportunity presents itself to rid himself of his mounting debt by stealing a genuine Rubens, he can't resist one last job. The film flip-flops between (albeit inky-black) comedy and all the thrills and tension of an accomplished chase-movie, and much of your enjoyment will hinge on whether the genre-blending works for you. What is palpable though is the sense of Roger really going through the mill - physically as well as psychologically - whether breathlessly attempting to evade the law, hiding in an outhouse cesspit, or being shunted off a cliff trapped in a car. His ordeal is wonderfully, bone-crunchingly real. One of the later scenes sees him emotionally broken, confessing his regret and love to his wife; it's a narrative beat you see coming a mile off, but for all its predictability, and much like the film as a whole, it's moving and compelling to watch.