Adapted from a novel by Norway's justice minister Anne Holt. Lesbian policewoman Hanne Wilhelmsen (Kjersti Elvik), who has a live-in lover, tools about Oslo on her Harley-Davidson. After a number of women vanish, police find blood but no bodies, and Wilhelmsen begins a search for the suspected serial killer. . You can read more in Google, Youtube, Wiki
Salige er de som tørster
A crime wave hits Oslo just as summer arrives. There has been found several violent blood splattered scenes with no bodies found. It's only a matter of time before the bodies has to surface, and the start of a run against the clock.
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Salige er de som tørster torrent reviews
Alex V (es) wrote: 6.2/10 The Dark hours is a one of the phychological thrillers in which you don't know how much of the movie is just in someones head. The actors do a fantastic job, considering this is only an indie film, and although it's not particularilly "thrilling" it does manage, at least, to keep you entertained.
Gregg D (nl) wrote: A Good solid thriller, with good chemistry among Sean Connery, Blair Underwood and Ed Harris characters.
Paul K (au) wrote: Finally caught up with this one, shown over Christmas on TV. Pretty good in a 1980s kind of way. Dated, genteel, and touching.
Adrian B (de) wrote: In the mist of Elizabeth Taylor's death, I must honour the late, great actress by watching her in her other Academy Award winning role, "BUtterfield 8" (her other other Oscar came from "Who's Afraid of Virginia Woolf?"). Sadly, an Oscar went her way out of PITY, not performance! This dated film centres around Taylor's character, who is a prostitute that that seems divided by two men: a singer (Eddie Fisher to whom she stole in real life from Debbie Reynolds) and a lawyer (Laurence Harvey, who is more famous for his brilliant role in "The Manchurian Candidate"). I am not sure if this the storyline, but really who cares? It is filmed in colour, which essentially is the brightest spot in the film and Taylor is quite attractive. Sadly, the dialogue is lame and unfortunately at times, funny. Also the film plods on and after about a half hour, it is tedious and uninteresting. Sorry guys, the Best Actress of 1960, I believe I said this in my other review, should have been Shirley MacClaine for "The Apartment."
oliver s (nl) wrote: "Odds Against Tomorrow" is a fine film noir, and perhaps one of the most neglected titles in Robert Wise's oeuvre . One of the very last in the classic cycle, and released the year after Welles' "Touch of Evil," the movie is a taut noir-caper, and one often left out of discussions concerning noirs of the 1950s. The 50s saw a wave of caper films produced, starting with Huston's "The Asphalt Jungle." I suppose it was really two noir-capers made in france, Dassin's "Rififi" and Melville's "Bob le Flambeur," that set many of our modern-day heist movie conventions. And it was in 1956 that Stanley Kubrick's career took flight with his flashy but effective noir-caper, "The Killing." It is among these somewhat prestigious films that "Odds Against Tomorrow" should have found its proper home, yet it somehow has remained adrift upon that forlorn sea of noir esoterica. It is unique among the films mentioned, in that it chooses to tackle issues of race. Socially conscious noirs are not exactly rare, however. One of the film's screenwriters, the great Abraham Polonsky, directed that classic John Garfield noir, "Force of Evil." That film was a savage critique of capitalism, and pretty much cost Polonsky his career. "Odds Against Tomrrow" works exceedingly well as a suspenseful caper movie, but it is its social consciousness, along with its willingness to deal frankly with sexuality (Ryan's masochistic conversation with Gloria Grahame, and an early example of an openly homosexual character) that provide the windows into its more rewarding dimensions. The cinematography of Joseph C. Brun may be one of the very last in the expressionistic tradition so integral to the noir universe. (Notice the light and shadow mingling with the blinds when Ryan and Belafonte peer outside.) John Lewis' jazz score adds to the film's evocation of a smoky, seedy underworld. Jazz scores seemed in vogue in many '50s crime films, following Elmer Bernstein's example in "The Man with the Golden Arm." Admittedly, the film's ending--which directly recalls Cagney's demise at the end of "White Heat"--is an employment of symbolism so blatant, that Wise and his writer's might as well have beat us over the head with sledgehammers. This is a mere quibble, however. "Odds Against Tomorrow" is essential viewing for any fan of the noir cycle and its key films, or even just any fan of classic movies, period. ***1/2 Three and a Half Stars -Oliver Spivey