Name: Stockholm
Genre: Crime, Comedy
Released: 2019-04-12T00:00:00+00:00

The opening shot of Robert Budreau’s Stockholm (2019) lingers on Ethan Hawke’s face as he fumbles with a handgun, his expression a mix of panic and determination. It’s an oddly intimate introduction to what should be a high-stakes bank robbery, but Budreau isn’t interested in conventional tension. Instead, he sets the tone for a film that straddles the line between dark comedy and psychological drama, never quite settling into either.

Based on the true story of the 1973 Swedish bank heist that gave rise to the term “Stockholm Syndrome,” Stockholm follows Lars Nystrom (Hawke), an inept criminal who stumbles his way through a botched robbery. With hostages in tow and police surrounding the building, the film explores the bizarre dynamic that develops between captor and captured. Budreau’s direction is deliberate but unhurried, favoring quiet character moments over explosive action. The pacing is deliberate to a fault, often feeling more like a lullaby than a thriller.

Hawke’s performance is the film’s standout element. His Lars is a lovable oaf, a man out of his depth who somehow manages to charm both the audience and his hostages. Hawke’s deadpan delivery and physical comedy ground the film in its comedic elements, making even the most absurd moments feel plausible. Noomi Rapace, as Bianca Lind, one of the hostages, delivers a nuanced performance that balances vulnerability and strength. Their chemistry is the heart of the film, and their shared scenes are where Stockholm finds its emotional core.

However, the film’s tonal inconsistencies become increasingly apparent as it progresses. Budreau struggles to balance the dark humor of Lars’ bumbling incompetence with the psychological weight of Stockholm Syndrome. The concept itself is fascinating—a phenomenon where hostages develop sympathetic feelings for their captors—but the film never fully explores its darker implications. Instead, it leans into a muted color palette and a drowsy pace that feels more suited to a character study than a crime drama.

The supporting cast, including Mark Strong as Lars’ accomplice Gunnar Sorensson and Christopher Heyerdahl as Chief Mattsson, deliver solid performances but are given little to work with. The script, also written by Budreau, prioritizes quirky character moments over dramatic stakes, leaving the film feeling slight in its 92-minute runtime. Scenes that should be tense—like the police negotiation or the hostages’ growing allegiance to Lars—are undercut by a lack of urgency.

Visually, Stockholm is competent but unremarkable. The cinematography favors static shots and muted colors, reinforcing the film’s subdued tone. However, this aesthetic choice also makes the film feel visually flat, lacking the dynamic energy that could elevate its more dramatic moments. The sound design is similarly unobtrusive, with minimal use of score or ambient noise to build tension.

Thematically, Stockholm grapples with ideas of loyalty, identity, and the blurred lines between victim and perpetrator. However, these themes are explored in a superficial manner, never delving deep enough to leave a lasting impact. The film’s ending, while faithful to the true events, feels anticlimactic given the buildup.

Comparatively, Stockholm falls short of other films that explore similar hostage dynamics, such as Dog Day Afternoon (1975). That film balances humor and drama with a deftness that Stockholm lacks. While Hawke’s performance is a highlight, it’s not enough to carry the film through its tonal inconsistencies and pacing issues.

Audience-wise, Stockholm will likely appeal to fans of offbeat comedies and character-driven dramas. Those looking for a gripping thriller or a deep exploration of Stockholm Syndrome may find themselves disappointed. The film’s strengths lie in its performances and quirky charm, but these are not enough to overcome its structural and thematic shortcomings.

In the end, Stockholm is a watchable oddity, elevated by Hawke’s performance and Rapace’s magnetic presence. But it never fully commits to being either a dark comedy or a gripping drama, leaving it feeling like a curiosity rather than a must-watch. If you’re looking for something offbeat and mildly entertaining, it delivers.