The Quiet Ones

Invigorates its well-worn formula through meticulous stewardship and an excellent performance from headliner Gustav Dyekjær Giese as a boxer who attempts to realize his dreams of glory in the most daringly illicit manner imaginable.

August’s script deserves much credit––a lot needs to be made known during preparations for what occurs to make sense. That none of it feels forced is no small feat.

The Quiet Ones is a reminder of the simple pleasures of a caper film with ice in its veins.

The Quiet Ones isn't action-packed enough to be pure fun or interrogative enough to be thought-provoking.

By the time this hard-nosed genre exercise arrives at its ambivalent final scene, whether or not the criminals get away with stealing a few million Krone feels all but irrelevant to a world in which real fulfillment is so hard to keep.

The theft that inspired the movie has been called one of the biggest in Denmark’s history. It deserved a sleeker film.

There’s no rule that every criminal has to be charismatic, or all their heists have to be heart-pounding. They just can’t commit the one sin that’s truly unforgivable: leaving us bored.