Entertainment
Review: In Denmark's 'The Promised Land,' the virtues of an old-school western still blaze
Nikolaj Arcel’s “The Promised Land” is aptly titled. Adapted from the 2020 novel “The Captain and Ann Barbara,” by Ida Jessen, the land itself — the untamed heath of Jutland, the peninsula that makes up the continental portion of Denmark — proves to be both setting and character: as mercurial, tormented and blood-stained as anyone in this tale.
In 1755, the heath is empty, save for bands of outlaws and low-lying foliage, until a retired army captain, Ludvig Kahlen (Mads Mikkelsen) leaves the poor house with a secret shipment from Germany and a plan. He convinces the Royal Treasury to let him cultivate the territory at his own expense, appeasing the whims of King Frederick V and earning himself a noble title in exchange.
Ultimately, Ludvig’s is the story of a homesteader and Arcel treats it with the iconography and grandeur of a classic western, Scandinavian style. The film is a tapestry of misty vistas pierced only by lantern light as Ludvig battles the unforgiving earth in every condition, day and night, the planes of Mikkelsen’s distinctive face set against the sky.
If only the soil was his only antagonist. Ludvig has planted his settlement on a stretch of acreage that a nearby landowner and local judge, Frederik de Schinkel (Simon Bennebjerg), fancies his own. The only laborers Ludvig manages to keep are a couple of runaway tenant farmers, Johannes (Morten Hee Andersen) and Ann Barbara (Amanda Collin), whom Frederik also fancies his own. And Frederik is a jealous, controlling and vengeful megalomaniac, who sets about destroying Ludvig’s dreams at any cost, simply because of where they are on the map.
Melina Hagberg and Mads Mikkelsen in the movie “The Promised Land.”
(Henrik Ohsten / Zentropa)
After a foray into Hollywood with the 2017 Stephen King adaptation “The Dark Tower,” writer-director Arcel is back in his wheelhouse of Danish historical dramas, reuniting with Mikkelsen, who starred in his 2012 film “A Royal Affair,” and with his co-writer Anders Thomas Jensen, with whom he wrote “Riders of Justice.” Arcel’s films don’t revise Danish history so much as expand upon it, upturning previously held assumptions and examining the corruption of powerful men, with a socially progressive, even feminist bent.
Arcel makes this kind of large-scale period filmmaking look effortless, these detailed dramas of serious emotion and sociopolitical issues woven with humor, romance and sensuality. He approaches aristocracy with a certain level of absurdism, showing men in power as ridiculous and pathetic. Bennebjerg takes well to this, playing the psychopathic sadist Frederik in an almost comedic vein.
We laugh at him, especially when he continually corrects everyone to include the “de” in his last name, added as a vanity to seem more aristocratic. But we also see Frederik’s enormous cruelty, as he lashes out in a murderous rage whenever he feels impotent or frustrated, taking it out on innocents. Frederik is a very bad man and witnessing what he has coming to him is deeply satisfying, the lines of good and evil clearly drawn as they usually are in this kind of throwback storytelling.
“The Promised Land” is also the story of an unlikely family, a slowly developing theme that reveals itself over the course of the film’s runtime. It is a found family, made up of Ludvig, the steely Ann Barbara and a young Romani girl, Anmai Mus (Melina Hagberg), whose mischief and humor bring a lightness to the remote house on the heath. However, she is the focus of racism and discrimination by the German settlers who arrive there, and Ludvig almost loses the women who, though not a part of his plan, make his life complete.
This is the finest work of Arcel’s collaboration with longtime cinematographer Rasmus Videbæk. They craft this Nordic western epic with an eerie beauty and an eye toward the kind of startling violence that can erupt unexpectedly in lawless frontiers. Blood flows darkly and scenes are lighted by flame: a raging fire on the field as Ludvig and his outlaw workers burn the heather; blazing candelabras illuminating an intimidating manor dinner; feeble lamplight beating back the foggy night as Ludvig battles the dirt with his bare hands. Aerial shots capture the texture and topography of the landscape.
Mikkelsen commands quiet attention with his signature stoicism at the center. His Ludvig is orbited by the flamboyantly evil Frederik, the wounded yet powerful Ann Barbara and the charmingly potty-mouthed Anmai Mus. But Mikkelsen has a stunning ability to express deep wells of emotion with only his eyes; much is communicated in glances and meaningful looks. Without a single word, he makes his final decision about his land and his fate upon it, though his feelings couldn’t be more clear.
“The Promised Land” is the kind of sweeping big-screen epic that will make you say, “They don’t make them like this anymore.” Thank goodness Nikolaj Arcel still does.
Katie Walsh is a Tribune News Service film critic.
‘The Promised Land’
In Danish, Swedish, German and Norwegian, with English subtitles
Rating: R, for bloody violence, language, some sexuality and brief nudity
Running time: 2 hours, 7 minutes
Playing: In limited release Friday, Feb. 2
Movie Reviews
Movie Review: ‘The SpongeBob Movie: Search for SquarePants’ – Catholic Review
NEW YORK (OSV News) – Cartoon characters can devolve into dullards over time. But some are more enduringly appealing than others, as the adventure “The SpongeBob Movie: Search for SquarePants” (Paramount) proves.
Yellow, absorbent and porous on the outside, unflaggingly upbeat SpongeBob (voice of Tom Kenny) is childlike and anxious to please within. He also displays the kind of eagerness for grown-up experiences that is often found in real-life youngsters but that gets him into trouble in this fourth big-screen outing for his character.
Initially, his yearning for maturity takes a relatively harmless form. Having learned that he is now exactly 36 clams tall, the requisite height to ride the immense roller coaster at Captain Booty Beard’s Fun Park, he determines to do so.
Predictably, perhaps, he finds the ride too scary for him. This prompts Mr. Krabs (voice of Clancy Brown), the owner of the Krusty Krab — the fast-food restaurant where SpongeBob works as a cook — to inform his chef that he is still an immature bubble-blowing boy who needs to be tested as a swashbuckling adventurer.
The opportunity for such a trial soon arises with the appearance of the ghostly green Flying Dutchman (voice of Mark Hamill), a pirate whose elaborately spooky lair, the Underworld, is adjacent to SpongeBob’s friendly neighborhood, Bikini Bottom. Subject to a curse, the Dutchman longs to lift it and return to human status.
To do so, he needs to find someone both innocent and gullible to whom he can transfer the spell. SpongeBob, of course, fits the bill.
So the buccaneer lures SpongeBob, accompanied by his naive starfish pal Patrick (voice of Bill Fagerbakke), into a series of challenges designed to prove that the lad has what it takes. Mr. Krabs, the restaurateur’s ill-tempered other employee, Squidward (voice of Rodger Bumpass), and SpongeBob’s pet snail, Gary, all follow in pursuit.
Along the way, SpongeBob and Patrick’s ingenuity and love of carefree play usually succeed in thwarting the Dutchman’s plans.
As with most episodes of the TV series, which premiered on Nickelodeon in 1999, there are sight gags intended either for adults or savvy older children. This time out, though, director Derek Drymon and screenwriters Pam Brady and Matt Lieberman produce mostly misfires.
These include an elaborate gag about Davy Jones’ legendary locker — which, after much buildup, turns out to be an ordinary gym locker. Additionally, in moments of high stress, SpongeBob expels what he calls “my lucky brick.” As euphemistic poop gags go, it’s more peculiar than naughty.
True to form, SpongeBob emerges from his latest escapades smarter, wiser, pleased with his newly acquired skills and with increased loyalty to his friends. So, although the script’s humor may often fall short, the franchise’s beguiling charm remains.
The film contains characters in cartoonish peril and occasional scatological humor. The OSV News classification is A-I – general patronage. The Motion Picture Association rating is PG — parental guidance suggested. Some material may not be suitable for children.
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Entertainment
Reiner family tragedy sheds light on pain of families grappling with addiction
When Greg heard about the deaths of Rob and Michele Reiner, and the alleged involvement of their son Nick, the news struck a painfully familiar chord.
It wasn’t the violence that resonated, but rather the heartache and desperation that comes with loving a family member who suffers from an illness that the best efforts and intentions alone can’t cure.
Greg has an adult child who, like Nick Reiner, has had a long and difficult struggle with addiction.
“It just rings close to home,” said Greg, chair of Families Anonymous, a national support program for friends and family members of people with addiction. (In keeping with the organization’s policy of anonymity for members, The Times is withholding Greg’s last name.)
“It’s just so horrible to be the parent or a loved one of somebody that struggles with [addiction], because you can’t make any sense of this,” he said. “You can’t find a way to help them.”
Every family’s experience is different, and the full picture is almost always more complicated than it appears from the outside. Public details about the Reiner family’s private struggles are relatively few.
But some parts of their story are likely recognizable to the millions of U.S. families affected by addiction.
“This is really bringing to light something that’s going on in homes across the country,” said Emily Feinstein, executive vice president of the nonprofit Partnership to End Addiction.
Over the years, Nick Reiner, 32, and his parents publicly discussed his years-long struggle with drug use, which included periods of homelessness and multiple rehab stints.
Most recently, he was living in a guesthouse on his parents’ Brentwood property. Family friends told The Times that Michele Singer Reiner had become increasingly concerned about Nick’s mental health in recent weeks.
The couple were found dead in their home Sunday afternoon. Los Angeles police officers arrested Nick hours later. On Tuesday, he was charged with their murder. He is currently being held without bail and has been placed under special supervision due to potential suicide risk, a law enforcement official told The Times.
Experts in substance use cautioned against drawing a direct line between addiction and violence.
“Addiction or mental health issues never excuse a horrific act of violence like this, and these sort of acts are not a direct result or a trait of addiction in general,” said Zac Jones, executive director of Beit T’Shuvah, a nonprofit Los Angeles-based addiction treatment center.
The circumstances around the Reiners’ highly publicized deaths are far from ordinary. The fact that addiction touched their family is not.
Nearly 1 in 5 people in the U.S. has personally experienced addiction, a 2023 poll from the Kaiser Family Foundation found.
Two-thirds of Americans have a family member with the disease, a proportion that is similar across rural, urban and suburban dwellers, and across Black, Latino and white respondents.
“Substance use disorders, addiction, do not discriminate,” Jones said. “It affects everyone from the highest of the high [socioeconomic status] to people that are experiencing homelessness on Skid Row. … There is no solution that can be bought.”
During interviews for the 2015 film “Becoming Charlie,” a semi-autobiographical film directed by Rob Reiner and co-written by Nick Reiner, the family told journalists that Nick, then in his early 20s, had been to rehab an estimated 18 times since his early teens. Nick Reiner has also spoken publicly about his use of heroin as a teenager.
Such cycles of rehab and relapse are common, experts said. One 2019 study found that it took an average of five recovery attempts to effectively stop using and maintain sobriety, though the authors noted that many respondents reported 10 or more attempts.
Many families empty their savings in search of a cure, Feinstein said. Even those with abundant resources often end up in a similarly despairing cycle.
“Unfortunately, the system that is set up to treat people is not addressing the complexity or the intensity of the illness, and in most cases, it’s very hard to find effective evidence-based treatment,” Feinstein said. “No matter how much money you have, it doesn’t guarantee a better outcome.”
Addiction is a complex disorder with intermingled roots in genetics, biology and environmental triggers.
Repeated drug use, particularly in adolescence and early adulthood when the brain is still developing, physically alters the circuitry that governs reward and motivation.
On top of that, co-occurring mental health conditions, traumas and other factors mean that no two cases of substance abuse disorders are exactly the same.
There are not enough quality rehabilitation programs to begin with, experts said, and even an effective program that one patient responds to successfully may not work at all for someone else.
“There is always the risk of relapse. That can be hard to process,” Greg said.
Families Anonymous counsels members to accept the “Three Cs” of a loved one’s addiction, Greg said: you didn’t cause it, you can’t cure it and you can’t control it.
“Good, loving families, people that care, deal with this problem just as much,” he said. “This is just so common out there, but people don’t really talk about it. Especially parents, for fear of being judged.”
After the killings, a family friend told The Times that they had “never known a family so dedicated to a child” as Rob and Michele Reiner, and that the couple “did everything for Nick. Every treatment program, therapy sessions and put aside their lives to save Nick’s repeatedly.”
But the painful fact is that devotion alone cannot cure a complex, chronic disease.
“If you could love someone into sobriety, into recovery, into remission from their psychiatric issues, then we’d have a lot fewer clients here,” Jones said. “Unfortunately, love isn’t enough. It’s certainly a part of the solution, but it isn’t enough.”
If you or someone you know is experiencing a mental health crisis, help is available. Call 988 to connect to trained mental health counselors or text “HOME” to 741741 in the U.S. and Canada to reach the Crisis Text Line.
Jake Reiner, Nick Reiner, Romy Reiner, Michele Singer Reiner and Rob Reiner attend Four Sixes Ranch Steakhouse’s pop-up grand opening at Wynn Las Vegas on Sept. 14, 2024.
(Denise Truscello / Getty Images for Wynn Las Vegas)
Movie Reviews
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