Genre: Comedies
Starring: Nicolaj Kaas, Ali Kazim, Paprika Steen, Ulrich Thomsen, Ole Thestrup
A film that asks us to have a pretty high tolerance of easy stereotypes and most of its comedy comes because you're not sure what else to do but laugh. When the ironic reversal kicks in, the film turns semi-serious and gets, if anything, a little boring.
The actors play this darkly funny material as if they are in a deadly serious Shakespearean drama, highlighting the situation's many absurdities
Horis na dokimazei Dogma-tika tis antohes soy, den einai liges oi fores poy tis apsifa paizontas me to rythmo, eno i halari ploki einai profanes oti den endiaferetai kai idiaitera na soy dosei heroylia na piasteis
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This Danish comedy, like most of that country's dramas, is dark, dark, dark. The film's humor offers an odd blend of subversively sly narrative mixed with bursts of sudden, sharp violence and goofy slapstick.
This oddball story is more than a one-joke concept. Its characters are sometimes cruel, sometimes sweet, but always recognizably human.
Jensen is an accomplished screenwriter with a knack for developing people amid comic nonsense.
The movie is all surface, loudly clamoring for attention and then losing its voice.
Top Critic Some will see this as a movie about how we’re all God’s children. I saw only the misanthropic fulminations of Jensen’s runaway ego.
For most of its length it's wonderfully wicked -- Jensen actually forces us to sympathize with the neo-Nazi's attitude toward the minister -- but the ending unfortunately mitigates the nastiness ...
Strong direction, solid acting, and a script as crisp and juicy as freshly picked apples. A solid "A" film.
Its screenplay attempts to blend outrageous black humor with biblical allegory in an ultimately unsuccessful fashion.
Top Critic Director Jensen (who co-scripted After the Wedding) breaks away from Dogme to make a more stylized film, using a controlled surface that disarms us with surreal happenings and well-executed absurdity.
Deliciously profane, dark and somber, Denmark's Adam's Apples is fiendishly ripe for the picking.
Pushes the boundaries of weirdness, yet manages to be a moving look into faith and redemption.
The path that Jensen plots is one full of the improbable and unlikely, but never the impossible.
Adam’s Apples strives for black comedy, but winds up being neither funny nor spiritually enlightening.
Smart-aleck comedy and spirituality aren't incompatible, but in Adam's Apples they cancel each other out.
Top Critic
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