Polar (2019)
Mads Mikkelsen (Arctic) is a master assassin who comes out of retirement in this Jonas Akerlund-directed actioner based on the Dark Horse graphic novel by Victor Santos.
When Duncan, a retiring hitman, realises he's the target of a hit, he winds up back in the game, facing off against an army of ruthless, younger killers.
- Director:
- Jonas Åkerlund ('Lords of Chaos', 'Spun', 'Small Apartments')
- Writer:
- Jayson Rothwell
- Cast:
- Mads MikkelsenVanessa HudgensKatheryn WinnickMatt LucasAnthony GrantNia RoamAnastasia MarininaFei Ren
Reviews & comments
Flicks, Daniel Rutledge
flicksThe classic set-up of assassins trying to kill a retiring assassin is given a silly, ugly, cartoonish music video treatment here. Polar is an ultraviolent action flick with graphic torture, plenty of nudity and even a fair amount of hard drug use thrown in for good measure. But it's not nearly as fun as all that sounds.
Flicks, Luke Buckmaster
flicksThere are several ways that directors can attempt to pass off grotesque films as creative statements rather than senseless gratuity. One is to drape a sadistic experience in high art veneer – like the revolting but moody Apostle, and the empty but stylish You Were Never Really Here. The latter, dressing up the cliché of the weary killer protecting the forlorn little girl in a chichi aesthetic, looked like it was supposed to mean something, thus the commentariat chimed in with turns of phrase that – like the film – implied meaning while actually saying very little. It was “gritty poetry”, for example, with “haunted wit.”
Flicks, Daniel Rutledge
flicksThe classic set-up of assassins trying to kill a retiring assassin is given a silly, ugly, cartoonish music video treatment here. Polar is an ultraviolent action flick with graphic torture, plenty of nudity and even a fair amount of hard drug use thrown in for good measure. But it's not nearly as fun as all that sounds.
Flicks, Luke Buckmaster
flicksThere are several ways that directors can attempt to pass off grotesque films as creative statements rather than senseless gratuity. One is to drape a sadistic experience in high art veneer – like the revolting but moody Apostle, and the empty but stylish You Were Never Really Here. The latter, dressing up the cliché of the weary killer protecting the forlorn little girl in a chichi aesthetic, looked like it was supposed to mean something, thus the commentariat chimed in with turns of phrase that – like the film – implied meaning while actually saying very little. It was “gritty poetry”, for example, with “haunted wit.”
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