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The history of crime movies is immensely ample, but unfortunately until today, this genre is treated as inferior, as the second category of cinema. It is so shocking that if we follow the evolution of the crime movies of the last 10 years, we can observe that this genre is changing, going beyond its rigid frame.
There are real artistic gems, where the directors create extremely interesting hybrids in which the criminal theme is the motive to give the viewer something more. Still, of course there are plenty of excellent pictures in which the most important is the answer to the age-old question: “whodunit?”
The list of the 25 best European crime movies from the last decade shows two issues, obviously not necessarily revealing: we can only use the concept of European cinema in a geographical context, as it is aesthetically an extremely diverse cinema.
Of course, the list could not miss the Scandinavian and English crime movies that are known around the world, but how does the crime cinema from Belgium, Poland or Bosnia look like? The second issue is that the list is intended to be eclectic; it can be found arthouse cinema, naturalistic movies, brutal prison movies, detective stories, or a cinema containing elements of the grotesque. They are connected by the fact that they are great crime movies.
25. Department Q: A Conspiracy of Faith (2016)
The list is opened by a Scandinavian detective movie directed by Hans Petter Moland. The sea throws a bottle onto the beach with a disturbing letter. The item goes to Section Q, a department of the Danish police dealing with unexplained cases from years ago. Detectives Carl Mørck (Nikolaj Lie Kaas) and Assad (Fares Fares) suspect that the letter was written by an abducted child. His identity is soon determined. The boy came from a closed religious community and was kidnapped with his brother years ago.
The disappearance of the siblings was never reported, even though the kidnapper only returned one of the boys. It turns out that the event was not isolated, and recently there was another kidnapping, this time also covered up by intimidated parents. Detectives have little time to stop a fanatical murderer and save the children.
The third part of the detective from Section Q story is also the best part. This is a classic and well-executed crime story, according to proven genre patterns, but it does not detract from its class. The intrigue is extremely addictive, and the duo of Nikolaj Lie Kaas and Fares Fares is one of the best police duets in the last few years.
24. Schneider vs. Bax (2015)
Schneider (Tom Dewispelaere), a contract killer, receives an important task from his boss on his birthday. The goal is Ramon Bax (Alex van Warmerdam), a writer who lives alone in an isolated place. By assuring that with luck he would come home before noon and be able to help his wife prepare for the evening dinner, Schneider accepts the order. However, the seemingly simple work turns out to be something more than he expected.
The film’s director is Alex van Warmerdam, who previously made the iconic “Borgman.” “Schneider vs. Bax” is one of the weirdest pictures on this list. It balances on the border of a crime story and a grotesque comedy. Over the years, the director has developed his own unmanageable aesthetics, and “Schneider vs. Bax” is the quintessence of his style. Playing with characteristic crime patterns, the creator draws the recipient into an absurd game.
23. The Man from London (2007)
Maloin is a man who no longer waits in his life. There are no perspectives; he is burned out, and he is surrounded by a gray, hopeless reality. He is invisible to the world around him, despite the fact that he has a wife and daughter, he always feels completely lonely. Once he becomes a witness to a murder, his life changes dramatically.
The famous Hungarian director Bela Tarr uses the form of a crime film to share his original vision regarding the nonsense of existence. He reaches for his corporate tricks, including the slow camera movement, which is a perfect reflection of the prevailing difficult atmosphere. “The Man from London” will appeal to fans of aesthetic and visual sensations.
22. A Prophet (2009)
Sentenced to six years in prison, a young Arab named Malik El Djebena (Tahar Rahim) has no family, and can neither read nor write. After arriving in prison, he falls into the influence of the Corsican mafia led by Luciani (Niels Arestrup). Malik tempers and gains the trust of the mafia boss. Luciani then orders him to kill one of the prisoners. Malik learns and discreetly develops all his skills. His prestige is increasing.
“The Prophet” is a solid prison crime movie. The story shows the criminal school of life, and is built by the director from well-known genre schemes. Jacques Audiard does it so skillfully that “A Prophet” can surprise the viewer and keep them in suspense. The gangster world is stripped of sentimentality. Violence is always revolting, and a is crime terrifying regardless of motive. So let’s pay attention to the raw realism of the picture. “A Prophet” is a film devoid of embellishments, a cold depiction of the world of crime.
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21. The Silence (2010)
In July 1986, little Pia was raped and brutally murdered. Download christmas cheques template free software download. The perpetrators have never been caught, though the face of the viewer appears. The story jumps 23 years forward to 2009, when 11-year-old Sinikka disappears without a trace. The circumstances of her disappearance lead the police to believe that the murderer has returned to do the same bestial deeds. A group of detectives is involved in the case, and everything from the side is observed by Pia’s mother and a man who is directly connected with the tragic event from the 1980s.
“The Silence” is an elegant crime story in which a lot of attention is paid to drawing a strong portrait of a community included in tragic events. At the same time, a complex intrigue is carefully developed. The movie characters are perfectly led, and Ulrich Thomsen and Wotan Wilke Möhring give a show of acting skills.
20. The Dark House (2009)
One rainy night, Edward Środoń (Arkadiusz Jakubik) appears accidentally in the house of a couple, the Dziabas (Kinga Preis and Marian Dziędziel). The initial distrust of the hosts gives way to traditional Polish hospitality. The newcomer does not even suppose how much this meeting will change his life. After several years, the investigation team begins the investigation in the same house. Edward Środoń is standing in the doorway again. This time his visit is not accidental – it is to help in the reconstruction of the mysterious events from four years ago.
“The Dark House” is a frightening, dark film. Some people accuse him of showing the characters too one-sidedly, showing only their bestiality. However, this is a conscious choice of the director Wojciech Smarzowski, who is primarily interested in the bestial side of human life and behavior. This approach gives rise to some dissonance in the viewer’s perception. The film also seems surrealistic and naturalistic at the same time. The climate of the film can be compared with some reservations to the works of the Coen brothers and “Bullhead,” directed by Michaël R. Roskam.
19. The Best Offer (2013)
Virgil Oldman (Geoffrey Rush) is an experienced, successful antique dealer. He leads a lonely existence among the luxuries of the canvases of the old masters and the beauty of the Italian palaces, sure that nothing will disturb his stabilized life and threaten deeply hidden secrets. The order from a mysterious young woman will start a series of events that will turn his ordered world upside down.
The film is an interesting combination of crime and melodrama. Tornatore creates a claustrophobic atmosphere to which the viewer must adapt with the protagonists. The film is a vivisection of one of the varieties of loneliness. Oscar winner Geoffrey Rush creates his character with unpretentious subtlety and at the same time expressiveness, drawing from his character hidden by the full passion.
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18. The Revanche (2008)
Alex (Johannes Krisch) is a former prisoner who works as an assistant to the owner of one of the Viennese escort agencies. She secretly has an affair with Ukrainian prostitute Tamara (Irina Potapenko). A few hours from there, in the village where Alex’s father lives, police officer Robert (Andreas Lust) and saleswoman Susanne (Ursula Strauss) lead an idyllic rural life in which they lack only offspring. In a surprising way, their fates are intertwined.
The movie from Götz Spielmann combines elements of melodrama and crime. The film resembles Haneke’s cinema in its precision. The characters have to face a merciless fate, and the story refers somewhat to the dark tales of the Coen brothers and brilliant, cold aesthetics.
A cloudy sky rules, formidable Victorian buildings stand still, and a smell of beer overwhelms the atmosphere. And then, quirky gunmen roam the city in a rush and all at once disappear into its underground paths and covered walkways. Arguably, Britain has got the character, the style, and a quite entertaining crime cinematic underworld.
From the American film-noir movement of the ‘40s to the French “policier” cinema of the ‘60s and then back to the classic Hollywood crime films of the latest decades, the on-screen universe of gangsters, thieves, and hired killers has always been dark, mysterious and terrifyingly multidimensional.
British crime cinema, however, has carried out a different course, utilizing its ethnic culture and creating a definable place of illegality, cynical yet charming characters, and bittersweet decline. Through Guy Ritchie’s lens and upon familiar scratched pale faces, let’s enjoy the unlawfully provoking Albion that we love.
10. Mona Lisa (1986)
What differentiates a street prostitute from an expensive call girl? Nothing. Dressed in high-cost racy underwear, Simone visits luxurious hotels and effete politicians. She hides behind her impressive appearance a weak girl that used to stroll in the infamous districts of Soho every single night. George, an ex-convict with sad eyes, has taken over the ambiguous duty of Simone’s driver.
He performs his duty in his charmless stiff body, observing the disguised abjection of this young beautiful woman. She immediately realizes George’s lack of adequacy. In this fashion, these two outlaws share a volatile yet caring relationship that is found in the streets of London, split in between casual transactions of vulgar, paid, and meaningless sex.
On a first level, this is the story of Simone and George: two people that waste their days and deliver their body, but keep a dusty box of old, faded images in their heart. Initially, they both can’t stand one another. Need for speed second edition: software, free download. George projects a part of his fate on Simone’s life and so does she. But, eventually, they become an insoluble unit, recovering a vast treasury of feelings and weaknesses in one another’s eyes.
On a second level, “Mona Lisa” is a sad story of dispersed cruelty, sentimental coldness, and lost chances for a given life.
9. In Bruges (2008)
This is an exceptional black comedy, shot in one of the most stunning small cities in the whole world. From another point of view, it’s an unconventional study of silly bad guys. At the end, “In Bruges” is a hilarious, intelligent and irresistible flick of characters and space-time. You may try to predict its plot kinesiology, or understand what it’s really about. What you have to do, still, is to sit comfortably and enjoy its obscurity.
Ray is a professional killer that failed to fulfill a mission without collateral losses. After murdering a priest in Dublin, he accidentally shot a child. Without being aware of it, he stung his boss’s Achilles’ heel, who decided to exile him in Bruges for two weeks with his naïve and moonstruck mate in crime. Ray and Ken represent two alternating poles of numbness and excitement, volitional blindness and observation. In their bizarre sphere of childish immorality, you both love and hate them for different reasons.
There’s a quite unique trait in Martin McDonagh’s first feature film: it’s thrilling —entailing a suspenseful and unpredictable plot— and character-driven at the same time. The story is meant to enchant the viewer and reveal the core of its protagonists as well. The film’s ending cuts through the very heart of its environment’s ethics and intentional quintessence.
8. The Hit (1984)
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This is a film you’ve probably missed. In an unconventional quality of a novel, “The Hit” by British Stephen Frears is a breathtaking road trip that could travel your mind and soul. Drawn upon a nature’s acreage of beauty and narrated through the humane vicious sweetness, this is a picture to enjoy and linger on.
Of course, it’s the story of a criminal. Or isn’t it? Actually, it’s the tale of a man that encountered with a bestial façade of crime, dared to look at it, and then run so as to never behold its ugliness again. Willie Parker, a hitman immersed into the shady waters of a British gangland condemns his co-criminals and searches for a shelter somewhere in the warm, serene, and hostile grounds of provincial Spain.
The years have gone by. Willie’s life has been peaceful and smooth, hidden under his land’s comforting shadow of sun. But that beast he had once looked is alive, chasing him and seeking revenge, even ten years later. As if traveling through space-time, a car has crossed the thick transparent wall that divides Willie’s past and present, sweeping everything in his way and catalyzing roles, sides, and shades of innocence or guiltiness. This is crime, after all.
7. Snatch (2000)
It has Jason Statham and Vinnie Jones. You almost smell the beer and feel the moisture in the air. It also includes Brad Pitt in the role of a gypsy. This is Guy Ritchie two years later. Is his 1998 “Lock, Stock and Two Smoking Barrels” better than his second strike at the same field‒ known as “Snatch”? Of course it is. But, more than a crime film, this is an absolutely amazing piece of comedy.
The film’s pitch-black yet comic underworld moves through illegal boxing games, gambling, stolen diamonds, and other infamous paths of a quit complicated microcosm in London’s crime scene, that seems to marginally survive on a long chain of countless friable hoops. As this chain is intensely stretched by internal and external forces, we see its pieces interacting on the verge of a disastrous crash.
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The energy, the character, and the grace of the noisy black charade that it is “Snatch” lie in its characters’ surreal and at once ordinary profile. Each one of them defines a unique landscape of a tangled identity and comic ingredients. Arguably, the film’s blemishes are obvious. But as you watch its characters being what they are and interacting in their quaint little sphere, you can’t help but falling in love with it.
6. Get Carter (1971)
He’s stony, unhesitating and eerie. His steely eyes overflow with revenge all the same. This is Michael Caine in one of his best roles. Embodying Jack Carter, a man who lives for crime but could die for his brother, Caine’s face creates a stinging grief in the heart, instead of easing any feeling of aversion. Mike Hodges’s 1971 “Get Carter” is a lament dedicated to a twisted gangland.
Every man could die. Every man has to be removed from his way, when he needs to proceed. But this time, it has to do with his brother, a man that he used to love. Jack knows that his brother didn’t die accidentally, and he seeks revenge. In the casual way that he has always been acting, Jack gets involved into serious, complicated and violent circumstances in order to reach his goal.
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Growing fond of the story’s cold-handed criminal is impossible. Still, in opposition to his cold actions, his heart is something more than warm, and thus, you can’t hate him either. Hodges leaves no margin for a lot of feelings here. His picture’s landscape is constantly covered by a dull fog of misery. Always evolving around Jack, an endless tapestry of tragedy culminates in an inevitable deadlock for its hero and his doomed environment.