• November 18, 2021

Shorta Review Movie

Shorta Review

A kind of Danish Les Miserables meets Training Day, Shorta — Arabic for "police" — is a familiar but highly effective cops-come-under-fire-on-a-housing-estate thriller. Directed by Anders Olholm and Frederik Louis Hviid, it's a thrilling and well-constructed policier filled with inventive action however, it is as well-thought out and thoughtful, giving its characters breathing space and looking at the scenario from every angle.


It begins with impressionistic, yet effective filmmaking when police attempt to restrain the 19 year old Muslim Talib Ben Hassi (Jack Pedersen) while dragging him to a prison. The arraignment is a savage affair. are two white officer Mike Andersen (Jacob Lohmann) and Jens Hoyer (Simon Sears) They are joined on the crime scene so that Hoyer can squelch Andersen's masculine tendency to be racist. They are on patrols in Copenhagen's infamous Svalegarden district. The tension Hoyer is feeling every when Andersen is stopped and searches a person is tangible. And after an announcement about Talib Ben Hassi's demise in custody, will soon are slammed by the ever-increasingly aggressive Arab community.

After a stylish beginning, Anders Olholm and Frederik Louis Hviid make a statement with their an urgent, factual filmmaking.

In thrilling tension-filled, well-staged sets, Hoyer and Andersen are followed through high-rises, estates and supermarkets Their journey becomes more difficult after they are arrested by Amos Al-Shami (Tarek Zayat, superb) in the midst of a useless check and. After a slick beginning, Olholm and Hviid deliver the most urgent, factual filmmakingA foot-chase is akin to the same verve and ferocity as Point Break's famous hand-held dash. But Shorta is more than only the excitement. The film is packed with fascinating interactions, from the relationships among Andersen, Hoyer and Amos (a discussion about why Arabs are in love with Arsenal provides a more realistic tone) as well as a late-in-the-day friendship with Andersen and Amos The mother of the film, Abia (Ozlem Saglanmak).

The film has been seen previously — in addition to Les Miserables and Training Day and is also akin to Assault On Precinct 13 and Do The Right Thing -The third act gets to a degree that's a bit too much (hint that there's an firing of a machine gun like John Rambo). However, for the most of the film, Shorta delivers a nuanced approach to the genre of fuzz-under-fire There's a genuine feeling of contemporary surveillance, from eye-in-the sky police helicopters to people using camera phoneswhich are all performed with solid performances by Sears and most notably Lohmann that enrich only one-note, polar opposite law enforcement officers.

Leave a Reply