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He has an accomplice at the burglar alarm company who deactivates the systems long enough for him to get quickly in and out, and who later drives the stuff to Sweden for fencing.Īnd even this is not getting him enough money. His job isn’t enough, so he has a sideline of going into houses and stealing valuable art works and leaving behind copies that will fool the eye of all but an expert for a while.
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He’s real good at it, but he’s a little guy married to a Norwegian Valkyrie easily a head taller than he is, and he feels compelled to provide her with the life-style he assumes she feels she is entitled to. The turnaround that comes after months of Dane’s spending more time with Ryan is awfully weak tea, and a skeptical viewer will say it’s nothing of the sort.Aksel Hennie is Roger Brown, a corporate headhunter, a man who finds the perfect person for any upper-level job. This is the part where Dane’s wife tells him, of his life as a family man, “You’re missing it! Even when you’re here, you’re not really here.” When she knowingly informs him that “one day you’re going to wish you had this time back,” viewers may briefly fear they’ve stumbled into a sequel to Click, with Adam Sandler waiting in the wings to explain the importance of being there for your loved ones.īut no: This is a disease-fixes-your-life movie, only it takes a miserably long time before Dane learns any lessons from the suffering of his poor son Ryan (Max Jenkins), whose disease he initially mistakes for some laziness-produced weight gain.
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Dane’s a good guy deep down, you can tell. Still, he feels entitled to complain to his wife (Gretchen Mol) about their routine sex life, which he feels would be spicier if she’d let him ejaculate on her face. Using the demands of the firm’s taskmaster owner ( Willem Dafoe) as an excuse, Jensen misses plenty of important family events those he attends are usually interrupted by a vibrating mobile phone. When it wants our genuine disapproval, it shows how Jensen uses an out-of-work 59-year-old engineer (Alfred Molina) as an unwitting “tracer bullet” - sending him to interview for jobs Jensen knows he won’t get, to gather information a younger applicant can use to his advantage. The movie offers abundant examples of the lies Jensen’s willing to tell to land a client in a job, but it seemingly expects us to be impressed by most of them. Their respective recruiting teams - whose cumulative commissions this fall will determine which team leader gets the promotion - are said to be “mouth-breathers versus Ivy Leaguers,” but Vogel is as crass as Jensen, and Jensen’s latest protege is as timid as a bookworm, so what’s the diff? A certain demographic will always fall for this kind of claptrap, but when a child actor here is made to ask Butler, “Hey Dad? Do you believe in God?,” one hopes the answer is “Yes, Son, and he’s telling distributors they can find much better disease-exploiting family melodramas to offer moviegoers than this one.”īutler plays Dane Jensen, a macho headhunter competing for a managerial slot with Alison Brie’s Lynn Vogel. What do you get for the corporate greedhead who can buy anything he wants because he prefers cheating clients who trust him to spending quality time at home? Well, probably you don’t get him anything, because he’s a terrible person, and why would you get gifts for someone like that? But if you’re director Mark Williams, you get him a kid with acute lymphoblastic leukemia, because God knows that will make anybody a good person, and what are kids for if they can’t fix our character flaws with their cancer?Ī loathsome redemption tale that rings false on every front except when depicting capitalistic assholery (and sometimes fails to convince us even then), Williams’ directing debut The Headhunter’s Calling (from a script by former corporate headhunter Bill Dubuque) not only expects us to root for its unlovable protagonist, but expects us to do so when that man is played by Gerard Butler.