Iceland is a strange country, isolated from the rest of the world and with a strong sense of its traditional identity; but also affluent, liberal and with a reputation for hedonism. '101 Reykjavik', named after a district of its capital city famed for its nightclubs, takes a wry and jaundiced look at that society, viewing it through the perspective of Hlynur, a depressed, childish and insular young man living at home with his mother. Hlynur seems a very Icelandic sort of anti-hero, and the link between the nature of the characters and their place of abode gives this quirky comedy a distinctive and authentic feel, although it seems slightly surprising how much female attention the socially defective Hylnur is able to attract. There are more sophisticated movies out there, but '101 Rekjavik' is always entertaining and certainly worth watching, especially to anyone who's wondered what it really must be like to live in such a peculiar outpost of the western world.
53 Reviews
Kaurismaki meets Almodovar
Krustallos17 October 2004
Others have rehearsed the plot so here are some general comments.
The best thing about this film is Victoria Abril who is not so much a woman as a force of nature. I must admit I've not seen any of her work with Almodovar, but I was surprised to learn from the DVD filmography that she's been working in European cinema since as long ago as Richard Lester's 1976 "Robin and Marian". She was 40 when this film was made, so hardly a 'toygirl' for the fiftyish mother (although quite a catch, it must be said).
I guess Lola was changed from an Icelandic character to Spanish to draw in the European art-house audience but it's still a decision which works well as she personifies an outside force which arrives and turns Hlynar's world upside down.
The film feels very much like the novel adaptation it is - quite a lot of voice-over and exposition - but there are a number of deadpan cinematic jokes of the Kaurismaki variety, combined with sexual outrageousness in the Almodovar vein. Some of the humour only becomes apparent on repeated viewings; in all the fusion of styles works surprisingly well.
Overall, this probably won't change your life but it's a lot of fun.
The best thing about this film is Victoria Abril who is not so much a woman as a force of nature. I must admit I've not seen any of her work with Almodovar, but I was surprised to learn from the DVD filmography that she's been working in European cinema since as long ago as Richard Lester's 1976 "Robin and Marian". She was 40 when this film was made, so hardly a 'toygirl' for the fiftyish mother (although quite a catch, it must be said).
I guess Lola was changed from an Icelandic character to Spanish to draw in the European art-house audience but it's still a decision which works well as she personifies an outside force which arrives and turns Hlynar's world upside down.
The film feels very much like the novel adaptation it is - quite a lot of voice-over and exposition - but there are a number of deadpan cinematic jokes of the Kaurismaki variety, combined with sexual outrageousness in the Almodovar vein. Some of the humour only becomes apparent on repeated viewings; in all the fusion of styles works surprisingly well.
Overall, this probably won't change your life but it's a lot of fun.
Excellent snapshot of Icelandic life
huygens8 November 2005
I have been living in Iceland for a year and a half and got a picture of the country, its people and its capital, Reykjavík (I actually even lived in the 101 postal code in Reykjavík). This movie is really highlighting a type of persons that I have met quite often in Iceland. I think it is a clear and accurate picture of an important part of the young population. The main actor, Hilmir Snær Guðnason (Hlynur), is really expressing this disillusion that you can feel while enjoying Reykjavík's night life. If you want to go to this marvelous country or if you just interested how one can survived after a few months winter night, this is the movie to go watching. But do not worry, there is more than that in Iceland.
Wonderful but not complete.
irishju14 May 2002
I saw the film 101Reykjavik during one of my sessions as a projectionist at a movie theater in Helsingborg. I had no previous knowledge of the film neither had I heard anything about it, but boy was I in for a treat.
Although the movie seems incomplete story wise, the characters and the dialog is superb and some of the plot twists make you fall out of the chair in laughter. So despite the lack in story development the overall experience is great. The music (by among others Damon Albarn) compliments the pictures wonderfully with its playful themes of the old classic "Lola". It is really a variation of the old "Slacker" theme but it is done without any moral judgement on the characters. Some people aren't ment to become important and some are. Hlynur (the protagonist) is constantly torn between his selfconscious criticism of the world and the inevitable fact that he has to live in it and he gets by as best as he can. Would the story had been allowed to develop even further the movie would have been the ultimate voice of the "Slacker" generation but since it falls short the best one can do is just take it for what it is and enjoy.
I would warmly recommend the movie to everyone under 35, the older generations might want to check out something else.
Although the movie seems incomplete story wise, the characters and the dialog is superb and some of the plot twists make you fall out of the chair in laughter. So despite the lack in story development the overall experience is great. The music (by among others Damon Albarn) compliments the pictures wonderfully with its playful themes of the old classic "Lola". It is really a variation of the old "Slacker" theme but it is done without any moral judgement on the characters. Some people aren't ment to become important and some are. Hlynur (the protagonist) is constantly torn between his selfconscious criticism of the world and the inevitable fact that he has to live in it and he gets by as best as he can. Would the story had been allowed to develop even further the movie would have been the ultimate voice of the "Slacker" generation but since it falls short the best one can do is just take it for what it is and enjoy.
I would warmly recommend the movie to everyone under 35, the older generations might want to check out something else.
dubious and not funny
sergeprokofiev24 June 2001
There are no new horizons in this film. Yes, there are quite a few perhaps talented young fellows who have a difficulty to adapt to mature life, to get a job, to get a stable relationship, financial independence. Haven't you known that already? But there is a novelty: a middle-aged mum comes out of the closet and declares her lesbian preference. Hang on, though: could you imagine a dad coming out of the closet? Probably yes, but then the emphasis of the film would have been very different. I mean, I'm somewhat suspicious about this lesbian line: isn't it just another sexy (literally and figuratively speaking), saucy attraction added to the film, for its own sake? Hardly anyone, presumably, would be curious to watch middle-aged or old men engaged in gay sex. Not so with women. Likewise, I've never been to Reykjavik, but I'm stunned to discover the apparently large number of lesbian or bi-sexual girls in its pubs. The asymmetry with homosexual men is obvious. So I have my doubts about this film's realism, or more exactly, its cynical exploitation of basic instincts. The film pretends to be a comedy. But it fails. As far as I'm concerned, there's just one genuinely funny moment---the scene with the parking inspector. All the rest are only *supposed* to be funny. A positive moment, however, is that they are not tasteless still. If it's a failed comedy, does it deliver a message? Hardly. Except possibly one: Hlynur eventually finds the job. That could be a serious message, if Hlynur were described as a rebel at the beginning. Which he isn't. Hence the film doesn't aspire to be anything but a comedy, and in that department it fails, I believe.
Now, you might think that such a mediocre film should have poor acting. You are wrong! Oddly enough, the acting is of very good quality. Guonason is perfect, entirely natural, and other leading actors are quite decent. I'm no great fan of Victoria Abril, but she does a good job too. To sum up: watch this film after a busy day and go to bed. Rating: 6.5.
Now, you might think that such a mediocre film should have poor acting. You are wrong! Oddly enough, the acting is of very good quality. Guonason is perfect, entirely natural, and other leading actors are quite decent. I'm no great fan of Victoria Abril, but she does a good job too. To sum up: watch this film after a busy day and go to bed. Rating: 6.5.
911 Iceland...
Coventry19 August 2004
This more or less seems to become a new trend: European countries not particularly known for their rich history in film-making surprise the world with semi-artistic movies telling us how boring life is in this particular country. F*cking Amal did so for Sweden
and 101 Reykjavik represents Iceland's pride and joy. I really like the lackadaisical tone of this film and especially the main character Hlynur is great! I love these Icelandic names, by the way
and the language is lovely! Anyway, Hlynur is a 30 something single man who gives cigarettes to 4-year-olds and daydreams about butchering his closest relatives with a shotgun
on Christmas day! He still lives with his mother while he already looks forward to drawing a pension. Oh, he also occasionally bangs his mother's Flamenco dance-teacher. Her name is Lola and every time her name is mentioned the song by The Kinks can be heard on a harmonica, which is rather funny. Anyway, Hlynur doesn't know that Lola is the lesbian toygirl of his mother
Just your typical day in 101 Reykjavik.
101 Reykjavik is very funny, only because the main character is such a loser! And everybody knows is a lot more interesting to observe a loser instead of a fake action hero, right? The different subjects handled in this film all may look very controversial, but the terrific use of black humor and satire makes it a lot easier to digest. And, it must be said, the film features a few extremely ingenious findings! In a brilliantly comical scene, Hlynur irritates a traffic warden by putting extra coins in every parking meter so that he can't write a single ticket. I'd certainly recommend this film, as long as you're not expecting an authentic masterpiece. It's clever, creative and filled with nudity (male and female). If they made one lesson clear with this movie, it's: don't ever settle in Iceland!
101 Reykjavik is very funny, only because the main character is such a loser! And everybody knows is a lot more interesting to observe a loser instead of a fake action hero, right? The different subjects handled in this film all may look very controversial, but the terrific use of black humor and satire makes it a lot easier to digest. And, it must be said, the film features a few extremely ingenious findings! In a brilliantly comical scene, Hlynur irritates a traffic warden by putting extra coins in every parking meter so that he can't write a single ticket. I'd certainly recommend this film, as long as you're not expecting an authentic masterpiece. It's clever, creative and filled with nudity (male and female). If they made one lesson clear with this movie, it's: don't ever settle in Iceland!
Hot stuff from Iceland
analog-321 September 2000
At first I thought this would be yet another melancholic Scandinavian psycho-drama involving a boy and his coming out lesbian mum. The plot is indeed somewhat along these lines, but there's nothing melancholic let alone Scandinavian about this funny funny movie.
However this is not exactly a comedy either although it turns out to be comical enough. Rather it's a slice of life seen through the glasses of an almost 30 years old drone, brilliantly played by Hilmir Snaer Gudnason, living off benefits and his far too indulgent mother.
Hlynur the anti-hero sleeps til noon, loafs around at home all day and drinks all night. Although he manages to sleep with members of the opposite sex, he can't bear to wake up to them. In other words he's a modern Peter Pan refusing to grow up -- if you can imagine Peter Pan as an apathetic chain-smoking sloth in a parka. And he seems fairly content with his simple non-life until Victoria Abril waltzes in .
The scene where Hlynur's mum confesses her new found sexual direction is nothing short of wonderful. It has an unerring ring of truth to it: a family drama played out over a quiet cuppa in the kitchen and it manages to be moving and hilarious at the same time. In that very scene Gudnason also shows off his exquisite acting skills: with great restraint and uttering PC platitudes he betrays the emotional battle raging within. Pathetic yet sympathetic.
Hlynur is played with just the right blend of indifference, impotence (although not sexual) and self-pity needed for the part and, though fairly unsympathetic to begin with, he grows on you as he reveals himself as a lost little boy. That much of his depressive nerd personality is more or less kept throughout the whole process is yet another proof of the quality of the acting and writing in 101 Reykjavik.
All the main actors central to the plot give stellar performances and many of the marginals too. The music is interesting, scored by our very own Damon Albarn (of Blur) and Einar the Sugarcube (Bjork's Svengali). I especially liked the ambient-reggae version of the old Kinks standard Lola.
Some of the dialogue is in Icelandic which is fine as long as it is subtitled. Much of it is however in English delivered in a bizarre -- but fortunately intelligible -- cocktail of Icelandic and Spanish accents.
There are few drawbacks to this flick, the main one being the obligatory landscape scene of some glacier or lava... I forget. But that's like criticizing a three star restaurant for a spelling error in the menu. -- The superb Reykjavik nightlife scenes are however not to be missed and could well serve as advertisements for Icelandair.
One nice oddity is the nowadays little used narrator voice-over. Well, actually Hlynur serves more as a commentator to the respective fixes he finds himself in, deadpan, mordant and hilarious, but rarely explaining much which the viewer hasn't already divined far better than Hlynur himself ever will. I suspect that these comments are original quotes from the novel on which the film is based.
Played out with extremely dry, self-depreciating, almost Jewish humor, the movie draws to an end as a fairly touching story of familial love disguised as an adult coming-of-age movie, wrapped inside a black comedy. And as often enough happens in real life this Gordian knot of personal problems more or less unravels itself. In a movie however such a solution may seem cheap, but this one gets away with it as the characters just carry on with their lives after redefining the nuclear family.
This is the directing debut by actor/director Baltasar Kormakur, who also wrote the script. Actors do often not make the best directors, but Kormakur proves to be an exception to that rule. The characters are well developed as one could expect, but they are not allowed to get in the way of the storytelling, which relies more on visual details and physical acting than endless dialogue and over-dramatization. This is doubly impressing considering the literary origin of the movie.
And maybe this is a clue to why this film works so well: it is uniquely Icelandic (or should I say Mid-Atlantic), drawing on European and American filmmaking traditions, thus enjoying the best of both worlds: old and new. I know it will work in Britain and Europe and the Americans seem to like it as well judging by the rave review 101 Reykjavik got in Variety and the success at the influential Toronto film festival.
However this is not exactly a comedy either although it turns out to be comical enough. Rather it's a slice of life seen through the glasses of an almost 30 years old drone, brilliantly played by Hilmir Snaer Gudnason, living off benefits and his far too indulgent mother.
Hlynur the anti-hero sleeps til noon, loafs around at home all day and drinks all night. Although he manages to sleep with members of the opposite sex, he can't bear to wake up to them. In other words he's a modern Peter Pan refusing to grow up -- if you can imagine Peter Pan as an apathetic chain-smoking sloth in a parka. And he seems fairly content with his simple non-life until Victoria Abril waltzes in .
The scene where Hlynur's mum confesses her new found sexual direction is nothing short of wonderful. It has an unerring ring of truth to it: a family drama played out over a quiet cuppa in the kitchen and it manages to be moving and hilarious at the same time. In that very scene Gudnason also shows off his exquisite acting skills: with great restraint and uttering PC platitudes he betrays the emotional battle raging within. Pathetic yet sympathetic.
Hlynur is played with just the right blend of indifference, impotence (although not sexual) and self-pity needed for the part and, though fairly unsympathetic to begin with, he grows on you as he reveals himself as a lost little boy. That much of his depressive nerd personality is more or less kept throughout the whole process is yet another proof of the quality of the acting and writing in 101 Reykjavik.
All the main actors central to the plot give stellar performances and many of the marginals too. The music is interesting, scored by our very own Damon Albarn (of Blur) and Einar the Sugarcube (Bjork's Svengali). I especially liked the ambient-reggae version of the old Kinks standard Lola.
Some of the dialogue is in Icelandic which is fine as long as it is subtitled. Much of it is however in English delivered in a bizarre -- but fortunately intelligible -- cocktail of Icelandic and Spanish accents.
There are few drawbacks to this flick, the main one being the obligatory landscape scene of some glacier or lava... I forget. But that's like criticizing a three star restaurant for a spelling error in the menu. -- The superb Reykjavik nightlife scenes are however not to be missed and could well serve as advertisements for Icelandair.
One nice oddity is the nowadays little used narrator voice-over. Well, actually Hlynur serves more as a commentator to the respective fixes he finds himself in, deadpan, mordant and hilarious, but rarely explaining much which the viewer hasn't already divined far better than Hlynur himself ever will. I suspect that these comments are original quotes from the novel on which the film is based.
Played out with extremely dry, self-depreciating, almost Jewish humor, the movie draws to an end as a fairly touching story of familial love disguised as an adult coming-of-age movie, wrapped inside a black comedy. And as often enough happens in real life this Gordian knot of personal problems more or less unravels itself. In a movie however such a solution may seem cheap, but this one gets away with it as the characters just carry on with their lives after redefining the nuclear family.
This is the directing debut by actor/director Baltasar Kormakur, who also wrote the script. Actors do often not make the best directors, but Kormakur proves to be an exception to that rule. The characters are well developed as one could expect, but they are not allowed to get in the way of the storytelling, which relies more on visual details and physical acting than endless dialogue and over-dramatization. This is doubly impressing considering the literary origin of the movie.
And maybe this is a clue to why this film works so well: it is uniquely Icelandic (or should I say Mid-Atlantic), drawing on European and American filmmaking traditions, thus enjoying the best of both worlds: old and new. I know it will work in Britain and Europe and the Americans seem to like it as well judging by the rave review 101 Reykjavik got in Variety and the success at the influential Toronto film festival.
Icecold
Baldrek14 June 2000
It´s slow paced and not a very exciting storyline (at least not for a movie) is just occasionally pulling you out of a slumber, the kind you get into when you watch America´s funniest home videos, but it gets more interesting the last quarter or so. The sets and shots are sometimes cool and the dialog is believable, though too much is delivered from off screen (the thoughts of our hero). The actors deliver good characters, not great...good. So all in all a fine entertainment but I thought afterwards: "I´d rather have read the book."
A Real World
lottascully19 December 2001
101 Reykjavik blowed my mind off when I saw it. Mine, who's lived in Iceland, spent (too!) much time in 101 Reykjavik and seen it all. It's so real that it's a bit scary; life really can be like that in Reykjavik. I'd recommend this film to someone who's interested in the Icelandic way of living and doesn't get shocked too easily! To make the experience deeper and fuller, also read the book! It's shockingly thick but worth every word in it.
Puts Most Slackers to Shame!
frankwhat2 December 2004
I was extremely impressed with this movie as I'm pretty sure it's the first film I've ever watched that originated in Iceland. It's very obvious that they don't mess around over there! Both in making motion pictures and their everyday lifestyles. American slackers can't hold a candle to the main character here. He had the system going for him in each way he could. All he did was surf the Internet and watch porn (sometimes even weird stuff like the animal kind or even as simple as women exercising), and would either drink, do drugs, or have sex at night. The girls in this were pretty cute; they weren't hot compared to Hollywood standards but they're all natural and that's a thing we rarely see here anymore. The European people seem more laid back when it comes to their forms of entertainment and don't get all worked up if a little adult content slips into their art which is a good thing. The parents over here are such hypocrites it's disgusting. They'll go all crazy if they see the slightest displeasing thing on the screen but then when it comes to their real lives they do some highly immoral deeds themselves. But that's just the way it goes. I did like how the main character in this is both funny but also steps back and analyzed life at times too which proves he's deeper than you'd think at first look.
Final Chill:
Movies: Not much would be added to the viewing this way.
DVD Purchase: Yes, but it'll take awhile to track it down for a decent price.
Rental: If you're looking for something a little off the beaten path then you'll love it!
Final Chill:
Movies: Not much would be added to the viewing this way.
DVD Purchase: Yes, but it'll take awhile to track it down for a decent price.
Rental: If you're looking for something a little off the beaten path then you'll love it!
Well done!
Gunnar_Runar_Ingibjargarson21 July 2008
Sexy Spaniard Victoria Abril heats up the wintry city of Reykjavík in 101 Reykjavík. Icelandic slacker Hlynur (Hilmir Snær Guðnason) lives on welfare with his mother, leading a depressed and aimless existence. His mother invites her flamenco teacher, Lola (Abril), to live with them; while his mother is away for New Year's Eve, Hlynur and Lola have a drunken fling. But upon her return, Hlynur's mother tells him that she and Lola are lesbian lovers--and it soon comes out that she and Lola are going to have a baby together. 101 Reykjavík seems to be the contemporary Icelandic version of American movies of the 1970s like Five Easy Pieces, in which anti heroic characters struggle to make sense of a world that doesn't seem to have any place for them. The movie is a bit unfocused, but its urban malaise feels genuine, if not particularly new. Abril is delightful, as always.
You won't stop laughing
andibert30 January 2004
This is one of the funniest movies I watched recently. A 30 years old guy, still living with his mother, refusing to get a job and quite retarded in regard to any relation with the opposite sex, runs into one crazy situation after the other, and his complete disability to handle them simply makes you scream out laughing. Yet, the humour in the movie is not of the dumb slapstick or nonsense kind, but, with some exceptions, actually quite intelligent, as social issues like sexual orientation, identity and general problems of way of living are dealt with. The spanish girl, as an intruder in the rather decadent and boring scenario of small Reykjavik, raises questions and perturbs the world of the small family perfectly by first seducing the son and then the mother, though unwillingly. Great acting. If this movie had a broader audience, it could really have become a big hit; now it encants only a limited number of spectators with its (very un-nordic) warm, easy and comfortable atmosphere and leaves you very satisfied. Big recommendation!
101 Reykavik review
anderslindquist19937 March 2014
In the pop song "Lola", the band The Kinks sing about a romantic encounter between a young man and a possible transvestite. The innocent enough sounding song, but is in many ways the perfect theme song for 101 Reykavik by Baltasar Kormakur. This movie follows Hlynur, a 29- year-old man who still lives with his mom whose days blend by in a succession of drug filled weekends and days spent at the computer, but are quickly turned upside down with the arrival of his mom's new girlfriend--Lola. Once the love triangle develops between Lola, his mom, and Hylnur, the boy-man finds his life changing drastically.
Reykavik, both the title of the movie, the setting for the story, and the hometown for the director, is a small Icelandic town under the oppression of winter. Hylnur, played by Hilmir Snær Guðnason, though on the edge of turning 30 is perpetually living as if he was 17, and feels as if he is oppressed as much by the town as his own lack of ambition. His mother's house, a small cupboard of an apartment where a bath doubles as a couch, is the entirety of his world. His universe only expands to the local pub during the weekends, where he drinks with the same group of people. There is no better description of his character then to say he is sleeping through his life.
The movie is almost repetitious to a fault, but perhaps that is the point; by midway through the movie, the viewer feels like they themselves are bored to tears by the cyclical nature of the scenes. Hylnur spends his days at the house and pub; desperate women search for love only to be insulted by Hylnur and his friends, and Reykavik remains buried in the snow and dark. However, the movie is very self-aware of this: best categorized in the scene where at a holiday dinner, where the family actually sits and watches a video of the previous year's dinner party with the same people parroting identical phrases.
While low budget, Guðnason makes excellent use of lighting and setting to reflect and parallel the story and tone of the movie. At the start, Reykavik is cold, dark, and snowy; the weather reflects the mood and feelings of the characters. As the movie moves along, the snow melts, the days grow longer, there is more lighting in the shots, new life is breathed into the characters. Mirroring the thaw of routine, and the creation of new life as prominent characters become pregnant.
Upon viewing of this movie, it can become easy to be disgusted and distracted by the gratuitous scenes of sex and drugs--often included for comedic value-- and miss the central points the film tries to convey. While these scenes do detract from the overall message, 101 Reykavik hits uncomfortable nerves. Can a person have a second rebirth? While no one who watches this film could ever possess the lack of ambition of Hylnur, there is a common feeling that one falls into ruts that cannot be broken. We feel like we are just passive recipients of life, just participants in events beyond our control. In this sense the movie is redeeming--much like Hylnur experiences--what takes us out of ruts and makes us feel like we are once again "living life' is what pushes us out of our comfort zone and into uncharted territory.
In many ways, the fundamental judges of a movie such as 101 Reykavik is whether or not the viewer enjoys viewing it or it stimulates thought. On these grounds, the movie succeeds with flying colors. The comedic aspects most often do fall short, but the movie stands on other grounds. It makes one examine their own life, whether or not they themselves are sleeping through life, or an active participant; do they truly know what they want out of life or is it simply a less extreme version of Hylnur's life plans to perpetually live off welfare?
Reykavik, both the title of the movie, the setting for the story, and the hometown for the director, is a small Icelandic town under the oppression of winter. Hylnur, played by Hilmir Snær Guðnason, though on the edge of turning 30 is perpetually living as if he was 17, and feels as if he is oppressed as much by the town as his own lack of ambition. His mother's house, a small cupboard of an apartment where a bath doubles as a couch, is the entirety of his world. His universe only expands to the local pub during the weekends, where he drinks with the same group of people. There is no better description of his character then to say he is sleeping through his life.
The movie is almost repetitious to a fault, but perhaps that is the point; by midway through the movie, the viewer feels like they themselves are bored to tears by the cyclical nature of the scenes. Hylnur spends his days at the house and pub; desperate women search for love only to be insulted by Hylnur and his friends, and Reykavik remains buried in the snow and dark. However, the movie is very self-aware of this: best categorized in the scene where at a holiday dinner, where the family actually sits and watches a video of the previous year's dinner party with the same people parroting identical phrases.
While low budget, Guðnason makes excellent use of lighting and setting to reflect and parallel the story and tone of the movie. At the start, Reykavik is cold, dark, and snowy; the weather reflects the mood and feelings of the characters. As the movie moves along, the snow melts, the days grow longer, there is more lighting in the shots, new life is breathed into the characters. Mirroring the thaw of routine, and the creation of new life as prominent characters become pregnant.
Upon viewing of this movie, it can become easy to be disgusted and distracted by the gratuitous scenes of sex and drugs--often included for comedic value-- and miss the central points the film tries to convey. While these scenes do detract from the overall message, 101 Reykavik hits uncomfortable nerves. Can a person have a second rebirth? While no one who watches this film could ever possess the lack of ambition of Hylnur, there is a common feeling that one falls into ruts that cannot be broken. We feel like we are just passive recipients of life, just participants in events beyond our control. In this sense the movie is redeeming--much like Hylnur experiences--what takes us out of ruts and makes us feel like we are once again "living life' is what pushes us out of our comfort zone and into uncharted territory.
In many ways, the fundamental judges of a movie such as 101 Reykavik is whether or not the viewer enjoys viewing it or it stimulates thought. On these grounds, the movie succeeds with flying colors. The comedic aspects most often do fall short, but the movie stands on other grounds. It makes one examine their own life, whether or not they themselves are sleeping through life, or an active participant; do they truly know what they want out of life or is it simply a less extreme version of Hylnur's life plans to perpetually live off welfare?
Lazy chic
stensson1 April 2002
This is about the wild unemployed life in Iceland, where the main character takes absolutely none responsibility towards anything. Not towards his mistress, not towards his (in many ways perverted) relation to his mother and absolutely not towards his life. Then the beautiful bi-sexual Spanish woman Lola enters. Life is shaken and the main character even begins to feel some responsibility in the end.
But this is too clever, too laid back, too ironic, too sarcastic. It's too much of "Anarchy chic" here and the film doesn't take stand for anything, which maybe is what the director wants. Anyhow, there is a kind of morality also in that kind of view.
Entertaining, oh yes, but we are not really surprised, not even about the ending. We have seen these people before.
But this is too clever, too laid back, too ironic, too sarcastic. It's too much of "Anarchy chic" here and the film doesn't take stand for anything, which maybe is what the director wants. Anyhow, there is a kind of morality also in that kind of view.
Entertaining, oh yes, but we are not really surprised, not even about the ending. We have seen these people before.
We rented this as a joke and were pleasantly surprised
rbourne13 April 2004
So my friends an I were rumaging around the vid store for something to watch. We started going through the forien film section and found some very insteresting titles of sex and romance. none of these interested us, except to sort of point and laugh at while we looked for something else. We happened upon 101 Reykjavik and were drawn by the cover of a man smokeing while covered in snow. Intrigued we read the teaser, boy did that tell the whole story. We laughed a bit and decided that we should get it, but tonight? We werent drunk or planning on it. Was this a movie for a lonely night or should we come back for it. In the end we got it and another movie incase or friends who didnt come along with us wanted to watch something else. I cant remember what we got but it could not compare to 101 Reykjavik. Its a perfect comedy that is predictable if you have a sick mind yet still incredibly funny. Every once and a while something completely random happens to keep you guessing. All in all a wonderful movie.
A dark comedy with unexpected twists and provocative commentary
scottt-941-9651837 March 2014
Warning: Spoilers
The film 101 Reykjavik produced and directed by award-winning Icelandic director Baltasar Kormákur is a dark cerebral comedy that proves to be a strong first feature length film for Kormákur. Based on the book by painter, novelist, translator, and writer Hallgrímur Helgason, 101 Reykjavik is titled after a section of the downtown of Iceland's largest city and capital which is populated by people whom the protagonist would no doubt describe as idiots. From that setting sprouts a facetious and twisted tale of transfiguration, lust, and profundity, that contorts notions of familial relations and seeks to both entertain viewers and incite thought.
The films self-centred and listless protagonist Hlynur, a roughly 30 year old unemployed loser with a penchant for porn, proves to be both a comedian and a philosopher. Dedicated to his self-proclaimed profession of being unemployable and unwanted wreck, the nihilistic Hlynur revels in his insignificance; wishing nothing on himself except porn, booze, and a swift death. Hlynur shirks all responsibility and leaves his mother's tiny apartment almost exclusively to get drunk with his two acquaintances or harass civil servants. When pushed to describe what it is that he does, Hlynur responds by saying he does "the nothing kind of nothing." A perfect descriptor for his life thus far.
That all begins to change when he is introduced to the vivacious-flamenco instructor-girlfriend of his mother: Lola. Lola plays the parent and tries to coax a person out of the reclusive Hlynur but he has other ideas in mind. Despite Hófi throwing herself at Hlynur, he rejects her entirely while spending time with Lola during his mother's vacation. His efforts culminate in an alcohol fuelled night of drunken passion the final night before his mothers return. What follows for Hlynur is a whirlwind of confessions, self-pity, and unprecedented growth that is riddled with comically dark humour and philosophical commentary.
The apartment feels much smaller to Hlynur as he is slapped in the face by the reality of his situation. The thin walls of the apartment bring his frustration with himself to a boil and in a fit of childish rage he repeatedly seeks to find solace in alcohol only to be berated by the idiots in the bar. However, as Hlynur grows as a person he also begins to come to terms with his mother's love for Lola. With changing times and rising tensions in his home-life Hlynur is roused from his hibernation-esque lifestyle and pushed to not only make something of himself but also of his now-topsy-turvy family. How he comes to terms with his "mamma's-boy" role changing in the congealing familial unit is a core point of growth and a central theme in the film.
Seekers of intellectual stimulation fear not, the philosopher inside Hlynur is awash with notes of existential and moral nihilism. With comments like "Family dinner or a funeral... I'd rather go to a funeral, at least there's one less idiot" and "The worst thing about AIDS as a method of suicide is that it takes so long to die from it" Hlynur cements himself as someone who places no value in both his life and the lives of even his closest family. His philosophical outlook undergoes a parallel morphology to that of his tumultuous private and social lives.
The pace of the camera work contributes a deceptively monotonous plodding feeling to the film which occurs over what appears to be several weeks if not months. The abstraction of perception of time contributes to the film by implying that by and large nothing important happens in the everyday lives of the characters and that they live a relatively empty existence. Furthermore, for a large portion of the film the setting of Christmastime in Reykjavik lends a chill and vacant appearance that serves as an ample metaphor for the utter lack of activity in Hlydnurs life. In the words of Hlydnur "There are no insects, no trees, no nothing... The only reason why people live here is because they were born here." Which makes ever more apparent the state of his existence.
Despite its meandering pace and, at points, glaringly obvious metaphors 101 Reykjavik has a twisted and unpredictable plot that surprises with each turn. The comedy, like great chocolate, is dark and you most certainly have to be in the mood for it. As comic Erma Bombeck said "There is a thin line that separates laughter and pain, comedy and tragedy, humour and hurt" and 101 Reykjavik walks that line with dexterity. That said, it is nigh-impossible to watch and not chuckle in the least. Needless to say 101 Reykjavik is an excellent first showing for Kormákur.
The films self-centred and listless protagonist Hlynur, a roughly 30 year old unemployed loser with a penchant for porn, proves to be both a comedian and a philosopher. Dedicated to his self-proclaimed profession of being unemployable and unwanted wreck, the nihilistic Hlynur revels in his insignificance; wishing nothing on himself except porn, booze, and a swift death. Hlynur shirks all responsibility and leaves his mother's tiny apartment almost exclusively to get drunk with his two acquaintances or harass civil servants. When pushed to describe what it is that he does, Hlynur responds by saying he does "the nothing kind of nothing." A perfect descriptor for his life thus far.
That all begins to change when he is introduced to the vivacious-flamenco instructor-girlfriend of his mother: Lola. Lola plays the parent and tries to coax a person out of the reclusive Hlynur but he has other ideas in mind. Despite Hófi throwing herself at Hlynur, he rejects her entirely while spending time with Lola during his mother's vacation. His efforts culminate in an alcohol fuelled night of drunken passion the final night before his mothers return. What follows for Hlynur is a whirlwind of confessions, self-pity, and unprecedented growth that is riddled with comically dark humour and philosophical commentary.
The apartment feels much smaller to Hlynur as he is slapped in the face by the reality of his situation. The thin walls of the apartment bring his frustration with himself to a boil and in a fit of childish rage he repeatedly seeks to find solace in alcohol only to be berated by the idiots in the bar. However, as Hlynur grows as a person he also begins to come to terms with his mother's love for Lola. With changing times and rising tensions in his home-life Hlynur is roused from his hibernation-esque lifestyle and pushed to not only make something of himself but also of his now-topsy-turvy family. How he comes to terms with his "mamma's-boy" role changing in the congealing familial unit is a core point of growth and a central theme in the film.
Seekers of intellectual stimulation fear not, the philosopher inside Hlynur is awash with notes of existential and moral nihilism. With comments like "Family dinner or a funeral... I'd rather go to a funeral, at least there's one less idiot" and "The worst thing about AIDS as a method of suicide is that it takes so long to die from it" Hlynur cements himself as someone who places no value in both his life and the lives of even his closest family. His philosophical outlook undergoes a parallel morphology to that of his tumultuous private and social lives.
The pace of the camera work contributes a deceptively monotonous plodding feeling to the film which occurs over what appears to be several weeks if not months. The abstraction of perception of time contributes to the film by implying that by and large nothing important happens in the everyday lives of the characters and that they live a relatively empty existence. Furthermore, for a large portion of the film the setting of Christmastime in Reykjavik lends a chill and vacant appearance that serves as an ample metaphor for the utter lack of activity in Hlydnurs life. In the words of Hlydnur "There are no insects, no trees, no nothing... The only reason why people live here is because they were born here." Which makes ever more apparent the state of his existence.
Despite its meandering pace and, at points, glaringly obvious metaphors 101 Reykjavik has a twisted and unpredictable plot that surprises with each turn. The comedy, like great chocolate, is dark and you most certainly have to be in the mood for it. As comic Erma Bombeck said "There is a thin line that separates laughter and pain, comedy and tragedy, humour and hurt" and 101 Reykjavik walks that line with dexterity. That said, it is nigh-impossible to watch and not chuckle in the least. Needless to say 101 Reykjavik is an excellent first showing for Kormákur.
A Journey to Beautiful Iceland
Ateg1 February 2010
This icelandic movie draws a very authentic image of Iceland's capital Reykjavík. Famous for its bars and clubs and nightlife. Reykjavík can also be a lonely place for someone like Hlynur, played competently by Hilmir Snær Guðnason. Hlynur is a young healthy man still living with his mother, we see him sleep through most of his days and spend the rest of his life watching porn or clubbing at night. His event-less boring life takes a slight disturbance with the introduction of his mother's friend Lola, played by the wonderful Victoria Abril, love affairs start showing up between the triangle of Hlymur, his mother and Lola.
Hilmir Snær Guðnason does a very good job in portraying the delusional Hlymur, we feel his emptiness and sense of unfulfillment throughout the movie, we even sympathize with him because he is a very likable character which makes us take interest in what goes on with him and what will happen to him next. His interactions with Lola are the highlights of the movie without a doubt because it's the only time that he finally shows any kind of emotion towards another human being.
101 Reykjavík is beautifully shot, the gorgeous landscapes of Iceland and the busy nightlife serve as a wonderful backdrop to the story, by the end of the film you almost feel like you have been to Reykjavík. The movie has also a very good dialogue with many witty moments be it from Hlymur conversations with his friends or his monologues. All in all, this is an entertaining, charming movie that takes us to the life of a young man with so much going on in his head and not much to do.
Hilmir Snær Guðnason does a very good job in portraying the delusional Hlymur, we feel his emptiness and sense of unfulfillment throughout the movie, we even sympathize with him because he is a very likable character which makes us take interest in what goes on with him and what will happen to him next. His interactions with Lola are the highlights of the movie without a doubt because it's the only time that he finally shows any kind of emotion towards another human being.
101 Reykjavík is beautifully shot, the gorgeous landscapes of Iceland and the busy nightlife serve as a wonderful backdrop to the story, by the end of the film you almost feel like you have been to Reykjavík. The movie has also a very good dialogue with many witty moments be it from Hlymur conversations with his friends or his monologues. All in all, this is an entertaining, charming movie that takes us to the life of a young man with so much going on in his head and not much to do.
A Fresh Viewpoint
a.v. boy7 August 2001
This film is a fresh look at life itself. Being set in an unfamiliar environment, it gives the viewer a chance to see what might be an otherwise familiar story with a fresh set of eyes. Well, okay, strictly speaking, the story IS a little unusual, but that's not my point.
There are a few things you should probably know about Reykjavik before you see this movie. It's not really very cold, for one thing. Sitting out at the end of the Gulf Stream, it has very temperate weather, rarely above 72F (20C) in summer and typically around 30F (-2C) in winter. You could probably get by in a sweater most of the year, at least in the city. (Far away from the city, in the uninhabited middle of the country, you'll find a couple of active volcanoes and the largest glacier in Europe.) For another thing, it's an amazingly alcoholic place. When we were there, beer (well, weak beer, anyway) was sold in soda machines. People drink until they pass out in public, especially when getting primed for 3-day weekends (bank holidays), and it's not considered shameful -- their more conscious drunken friends just help carry them to the bus/airplane/car. People line up around the block to get into discos, even in the summer when it's light 22 hours a day. These people party hearty. If this seems like a conflict with what is supposed to be a predominantly Lutheran country, it might be, but nobody seems to let it bother them too much. But, back to the movie...
This movie is both a frank look at this gleefully debauched ambiance, and a more personal look at our hero, Hlynur. For the sake of discussion, let's call him a fully-grown bird yet to leave the nest. You could describe this movie a number of glib ways, none of which would be truly accurate. "Coming-of-age." "Self-discovery." "Rebirth." "The meaning of life." "Sex, drugs, and Rock 'n Roll."
What it is is funny. Really funny. Hlynur is sort of an existential being, and the world mostly happens to him. He's not sure why and not sure what it means. Should he find it tragic, incomprehensible, or just funny? For him, comfortable in the ennui of his unchallenging existence, these disturbances are a bit of a challenge. For us, the audience, what it is is seriously entertaining!
The directing is terrific. The acting is excellent. Victoria Abril is a treat, as usual, but the rest of the mostly Icelandic cast manages to keep up. And the endless "Lola" remixes are hilarious. A lot of fun, highly recommended.
There are a few things you should probably know about Reykjavik before you see this movie. It's not really very cold, for one thing. Sitting out at the end of the Gulf Stream, it has very temperate weather, rarely above 72F (20C) in summer and typically around 30F (-2C) in winter. You could probably get by in a sweater most of the year, at least in the city. (Far away from the city, in the uninhabited middle of the country, you'll find a couple of active volcanoes and the largest glacier in Europe.) For another thing, it's an amazingly alcoholic place. When we were there, beer (well, weak beer, anyway) was sold in soda machines. People drink until they pass out in public, especially when getting primed for 3-day weekends (bank holidays), and it's not considered shameful -- their more conscious drunken friends just help carry them to the bus/airplane/car. People line up around the block to get into discos, even in the summer when it's light 22 hours a day. These people party hearty. If this seems like a conflict with what is supposed to be a predominantly Lutheran country, it might be, but nobody seems to let it bother them too much. But, back to the movie...
This movie is both a frank look at this gleefully debauched ambiance, and a more personal look at our hero, Hlynur. For the sake of discussion, let's call him a fully-grown bird yet to leave the nest. You could describe this movie a number of glib ways, none of which would be truly accurate. "Coming-of-age." "Self-discovery." "Rebirth." "The meaning of life." "Sex, drugs, and Rock 'n Roll."
What it is is funny. Really funny. Hlynur is sort of an existential being, and the world mostly happens to him. He's not sure why and not sure what it means. Should he find it tragic, incomprehensible, or just funny? For him, comfortable in the ennui of his unchallenging existence, these disturbances are a bit of a challenge. For us, the audience, what it is is seriously entertaining!
The directing is terrific. The acting is excellent. Victoria Abril is a treat, as usual, but the rest of the mostly Icelandic cast manages to keep up. And the endless "Lola" remixes are hilarious. A lot of fun, highly recommended.
Strange but entertaining
anahains6 March 2014
Warning: Spoilers
The story of 101 Reykjavik follows Hlynur, a young man in his mid-thirties who lives with his mother. Hlynur enjoys spending his days (and unemployment checks) drinking, watching porn, smoking, and web surfing. He occasionally has sex with Hofy, a girl he regularly sees at the club he frequents, but resists having more than a physical relationship with her. He has several friends he goes to the pub with but his closest relationship is with his mother. At the beginning of the film, Hlynur is content to watch life on a television or computer screen and live in close quarters with his mother. When asked what he does Hlynur replies he does nothing, "the nothing kind of nothing". He detests his extended family and finds their company so mundane that he has fantasies of killing them with a shotgun. However, his routine is upended when his mother's dance instructor, Lola, moves in with them for the holidays. Hlynur is attracted to her and invites her out to an evening with friends. Lola enjoys going out and drinking even more than Hlynur does and leaves the bar with another woman. On New Year's Eve Hlynur finds out that Lola is a lesbian but, despite this insight, he sleeps with her. Complications arise when Hlynur discovers that his mother is in a lesbian relationship with Lola and that Lola is pregnant with his baby. 101 Reykjavik employs clever film techniques to tell the story of an isolated young man and his journey to take an active role in life; a story that could be used as a metaphor for larger situations.
Watching Hlynur step out of his isolated world and into reality is part of what makes 101 Reykjavik an enjoyable film. As the movie progresses, Hlynur is less and less content to continue his aloof lifestyle and becomes more and more engaged with the world around him. The transition is not smooth. Hlynur enjoys his isolation, commenting with relief at a club that it was too noisy to talk and too busy to dance thus providing a barrier to anything potentially engaging or intimate. Lola becomes a major force in Hlynur's life, pulling him out of his self-imposed isolation. This is represented when she makes him watch the fireworks from the balcony and not on the TV regardless of his protests that "they actually look better on a screen". Despite his blasé attitude towards commitment he is genuinely upset when Lola becomes pregnant but does not reveal he is the father and describes the father as a 'donor'. While Hlynur readily accepts his mother for who she is, he has trouble accepting that she will raise his baby and becomes very emotionally conflicted. He tries to reconcile his newfound feelings with his isolated world but the audience can see he is struggling when he attends a party and ends up watching two people have sex. For Hlynur, an avid porn watcher, this could be seen as progress into the real world because watching real sex does not involve the isolation of watching it on a screen. At the end of the movie we see that Hlynur is an active part of his child's life and has a job checking parking meters, proving that Hlynur has started participating in life and even taking on some responsibility.
Several film techniques are employed to include the audience in Hlynur's isolated world and his journey to becoming an active participant in life. Voice overs are a film technique employed to give insight into Hlynur's thoughts and feelings. Hlynur's thoughts track his character change. At the beginning of the film, Hlynur voices his complaint that they don't show porn in the morning. Whereas at the end of the film, Hlynur describes himself as a harmless flightless bird, his inner voice shows that his thoughts have gotten deeper and more self-exploratory. His voice emphasizes his struggle to take more control over his life and become more active. Crane shots of Hlynur trudging through the mountainous Icelandic landscape are also used to convey his isolation as they sweep over the deserted land. These shots give an idea how vastly isolated and, especially at the end of the film, how lonely Hlynur's life is.
Despite the films clear comedic undertones, 101 Reykjavik is a good metaphor for change coming to a small nation like Iceland. Iceland is an isolated country and, like Hlynur, may not completely engage the rest of the world. One of the major changes in Hlynur's life is the revelation of his mother's sexual preferences. Hlynur accepts his mother and notes how social views in Iceland are changing by describing how 'the lesbian is new to Iceland' thus describing how his story could be transcended to the national level. 101 Reykjavik is a good model for change in a small isolated country and how people deal with that change and engage with the greater world as a whole. 101 Reykjavik artfully tells the story of an isolated young man becoming more engaged in life as a message that is universally understood. The film employs techniques such as voice overs and crane shots to convey the isolation that Hlynur feels and his struggle to become fully participating in his world. Many understand Hlynur's struggle to take control of his life and will be able to relate to him and enjoy 101 Reykjavik.
Watching Hlynur step out of his isolated world and into reality is part of what makes 101 Reykjavik an enjoyable film. As the movie progresses, Hlynur is less and less content to continue his aloof lifestyle and becomes more and more engaged with the world around him. The transition is not smooth. Hlynur enjoys his isolation, commenting with relief at a club that it was too noisy to talk and too busy to dance thus providing a barrier to anything potentially engaging or intimate. Lola becomes a major force in Hlynur's life, pulling him out of his self-imposed isolation. This is represented when she makes him watch the fireworks from the balcony and not on the TV regardless of his protests that "they actually look better on a screen". Despite his blasé attitude towards commitment he is genuinely upset when Lola becomes pregnant but does not reveal he is the father and describes the father as a 'donor'. While Hlynur readily accepts his mother for who she is, he has trouble accepting that she will raise his baby and becomes very emotionally conflicted. He tries to reconcile his newfound feelings with his isolated world but the audience can see he is struggling when he attends a party and ends up watching two people have sex. For Hlynur, an avid porn watcher, this could be seen as progress into the real world because watching real sex does not involve the isolation of watching it on a screen. At the end of the movie we see that Hlynur is an active part of his child's life and has a job checking parking meters, proving that Hlynur has started participating in life and even taking on some responsibility.
Several film techniques are employed to include the audience in Hlynur's isolated world and his journey to becoming an active participant in life. Voice overs are a film technique employed to give insight into Hlynur's thoughts and feelings. Hlynur's thoughts track his character change. At the beginning of the film, Hlynur voices his complaint that they don't show porn in the morning. Whereas at the end of the film, Hlynur describes himself as a harmless flightless bird, his inner voice shows that his thoughts have gotten deeper and more self-exploratory. His voice emphasizes his struggle to take more control over his life and become more active. Crane shots of Hlynur trudging through the mountainous Icelandic landscape are also used to convey his isolation as they sweep over the deserted land. These shots give an idea how vastly isolated and, especially at the end of the film, how lonely Hlynur's life is.
Despite the films clear comedic undertones, 101 Reykjavik is a good metaphor for change coming to a small nation like Iceland. Iceland is an isolated country and, like Hlynur, may not completely engage the rest of the world. One of the major changes in Hlynur's life is the revelation of his mother's sexual preferences. Hlynur accepts his mother and notes how social views in Iceland are changing by describing how 'the lesbian is new to Iceland' thus describing how his story could be transcended to the national level. 101 Reykjavik is a good model for change in a small isolated country and how people deal with that change and engage with the greater world as a whole. 101 Reykjavik artfully tells the story of an isolated young man becoming more engaged in life as a message that is universally understood. The film employs techniques such as voice overs and crane shots to convey the isolation that Hlynur feels and his struggle to become fully participating in his world. Many understand Hlynur's struggle to take control of his life and will be able to relate to him and enjoy 101 Reykjavik.
Party time is on!
arthurkarlsson15 April 2001
You don´t have to drink to get into this one, the film is about Hlynur and his buddies they like to drink,party and do what every other man likes to do when they´re drunk!!!!Well it shows how Icelandic winters can be and how dark they are,and how Icelanders cope with the reality in the winter time.. Just go see it it´s a good laugh!!
The pig's a real star and there's a mangy dog too
ProperCharlie30 August 2005
Warning: Spoilers
I nearly didn't write this review. I mean it's just film isn't it? Writing something involves effort, creativity, thought. I could just get out, get drunk, fall down, sleep around. Wake up and repeat. Would the world be any different if I did. Bleurgh,.
The glory of this film is in the world it shows. Reykjavik life for the 20-something. Permanently avoiding, well, something. Not really sure what, but it needs to be ignored. And as this is Reykjavik, it's cold. This world takes place indoors, in small, densely populated space, in warm clothes. Human contact seems to be more for survival and avoiding freezing to death rather than for intimacy. Alcohol blurs the real world and takes off its sharp edges. The nights are long in the cold. No one can see you. You're alone. Insulated from reality. Insular. That's life in Iceland. It's going to be hard to escape. Even Glasgow seems like an exciting, tropical paradise with exotic goods and thrilling times to be had.
Going away from that into the realm of plot and character, I get lost. I don't know these people. Are they real? The lead character has so much stuff happening to him and around him. He's so wrapped up inside himself and can't engage with it, let alone articulate his feelings. He hates those around him and yet wants people. He's still a teenager despite being in his mid-20s. It's unfortunate that the actor plays him as mischievous, always with a gleam in the eye. To me that just didn't fit. Is it possible to be playful whilst feeling misery, anger and angst? Maybe the characters feelings were buried so far within his layers of clothing that I couldn't see what was going on. What it comes down to is that I didn't like him, I don't know him and yet his day to day life doesn't seem that unusual. A misshapen character. I'm don't think Reykjavik is that alien.
The plot is bordering on farce. Nothing wrong with that, only the comedy often falls flat, and can seem inappropriate. I love black humour, only this wasn't a dark belly laugh, it was more of a greyed-out smirk. It's also incidental to the character development. He's trying to get out, he tries all sorts of things, though in the end, his only way out being to grow up, but only after he's tried to kill himself. Half-heartedly, of course.
If you're not in the market for dodgy pig and dog videos, watch this for what your life could be like once you've exhausted all the opportunities your environment offers you. It's not pretty.
The glory of this film is in the world it shows. Reykjavik life for the 20-something. Permanently avoiding, well, something. Not really sure what, but it needs to be ignored. And as this is Reykjavik, it's cold. This world takes place indoors, in small, densely populated space, in warm clothes. Human contact seems to be more for survival and avoiding freezing to death rather than for intimacy. Alcohol blurs the real world and takes off its sharp edges. The nights are long in the cold. No one can see you. You're alone. Insulated from reality. Insular. That's life in Iceland. It's going to be hard to escape. Even Glasgow seems like an exciting, tropical paradise with exotic goods and thrilling times to be had.
Going away from that into the realm of plot and character, I get lost. I don't know these people. Are they real? The lead character has so much stuff happening to him and around him. He's so wrapped up inside himself and can't engage with it, let alone articulate his feelings. He hates those around him and yet wants people. He's still a teenager despite being in his mid-20s. It's unfortunate that the actor plays him as mischievous, always with a gleam in the eye. To me that just didn't fit. Is it possible to be playful whilst feeling misery, anger and angst? Maybe the characters feelings were buried so far within his layers of clothing that I couldn't see what was going on. What it comes down to is that I didn't like him, I don't know him and yet his day to day life doesn't seem that unusual. A misshapen character. I'm don't think Reykjavik is that alien.
The plot is bordering on farce. Nothing wrong with that, only the comedy often falls flat, and can seem inappropriate. I love black humour, only this wasn't a dark belly laugh, it was more of a greyed-out smirk. It's also incidental to the character development. He's trying to get out, he tries all sorts of things, though in the end, his only way out being to grow up, but only after he's tried to kill himself. Half-heartedly, of course.
If you're not in the market for dodgy pig and dog videos, watch this for what your life could be like once you've exhausted all the opportunities your environment offers you. It's not pretty.
A Strange, Yet Oddly Appealing Film
mr-goodbytes25 March 2010
Warning: Spoilers
101 Reykjavik was undoubtedly the best film I've seen come out of Iceland. The premise of the movie is funny by itself: a lazy, 30-year-old, unemployed guy named Hlynur (as played by Hilmir Snær Guðnason) lives with his mom (as played by Hanna María Karlsdóttir) in Reykjavik, Iceland, and finds himself going from out of luck, no prospects, and not a care in the world, to a potential father for the children of both his semi-girlfriend, Hófí (as played by Þrúður Vilhjálmsdóttir) and his mom's new Spanish girlfriend, Lola (as played by Victoria Abril), with whom he had an affair. Hlynur's reactions when he learned of the pregnancies were priceless. So, all things considered, this movie was pretty good. Not only was it a unique plot that had a twist or two thrown in, but the character development, the tone of the film, and even the soundtrack was good. Quite a few of the characters really grew up in the film, such as Hlynur, with his more responsible lifestyle at the end, his mother, and her finally coming out of the closet (despite the fact that apparently everybody knew, including Hlynur), and Lola, who ended up being a pretty solid mom, herself. The movie's tone was just great in my opinion. It was lighthearted, yet still serious. Hlynur had some serous problems, but he could always make light of them, which is an admirable trait. It shows an inner strength, to be able to make fun of oneself. The song, Lola, by Ray Davies is used in a variety of ways, including a few instrumental versions, which cracked me up, because (a) it's got the pun value, what with one of the main characters being named Lola, and (b) I was one of the only people in my group who got it, since it was the instrumental version that played first. Not only that, but there were a few completely unnecessary scenes that were thrown in that were just great. For example, there was this scene where Hlynur is at a family reunion, and he (quite graphically) imagines himself taking the shotgun off of the wall, and shooting his entire family. Now, while the plot would have been unaffected by the absence of this scene, it adds relatability, to the film, since everyone imagines doing that at some point or another. Plus, the scene itself is downright hysterical. Also, the film is pretty educational, on the whole. You get a pretty good handle on how boring Iceland is for its residents. 61% of the population lives in Reykjavik, and that's around 200,000 people, which is around the population of Des Moines, Iowa, which is the home to the world's largest truck stop. Not exactly a high-excitement zone. Which is what the character, Hlynur tells you. They live for the weekend, and all there is to do then is to drink and to be promiscuous. This is undoubtedly why he gets into the trouble he gets into. The ending of the movie was, in my opinion, truly phenomenal. I won't spoil it for you, the reader, though.
But the movie isn't without faults. There are a few moments in the movie where you question the sanity of the characters. There's one scene where Hófí and Hlynur talk over an intercom at Hófí's apartment complex, and she casually tells him about how (spoiler alert) not only did she get an abortion, but it wasn't even his baby to begin with, after he had spent the last few months agonizing over it. The viewer and Hlynur both have the same reaction: "WTF?" I thought to myself, "Well, what was the point of that? What did she really stand to gain by messing with his head like that? That was below the belt (pun intended)." Despite the few shortcomings it had in the character department though, the good aspects of the film really shine through, while the inadequacies almost fall away, and I was left with a good feeling coming away from the film. It was one of those rare films where I left saying to myself, "I'm glad I watched that." It was, all in all, a thoroughly enjoyable experience. The movie had a good moral, too. "Everything will turn out fine." Hlynur stressed over his seemingly insurmountable problems, but, in the end, it wasn't nearly as bad as he thought. This is, I feel, life in a nutshell. It seems worse than it is, and when you finally realize that, all of your cares tend to melt away.
But the movie isn't without faults. There are a few moments in the movie where you question the sanity of the characters. There's one scene where Hófí and Hlynur talk over an intercom at Hófí's apartment complex, and she casually tells him about how (spoiler alert) not only did she get an abortion, but it wasn't even his baby to begin with, after he had spent the last few months agonizing over it. The viewer and Hlynur both have the same reaction: "WTF?" I thought to myself, "Well, what was the point of that? What did she really stand to gain by messing with his head like that? That was below the belt (pun intended)." Despite the few shortcomings it had in the character department though, the good aspects of the film really shine through, while the inadequacies almost fall away, and I was left with a good feeling coming away from the film. It was one of those rare films where I left saying to myself, "I'm glad I watched that." It was, all in all, a thoroughly enjoyable experience. The movie had a good moral, too. "Everything will turn out fine." Hlynur stressed over his seemingly insurmountable problems, but, in the end, it wasn't nearly as bad as he thought. This is, I feel, life in a nutshell. It seems worse than it is, and when you finally realize that, all of your cares tend to melt away.
Adult fun - just about keeps going
Chris_Docker2 September 2001
Tolerable movie, quite witty in parts, mostly about the sex lives of a group of Icelandic hangouts. Adult fun but ultimately a bit pointless. Funny situations about masturbation and lesbianism are hardly enough to sustain a whole film without at least a good subplot, but it manages to keep going anyway.
Definitely Watchable
slake096 August 2004
Others have covered the plot, a 20-something slacker who watches porn, smokes pot, and gets his mother's lesbian girlfriend pregnant. So it goes. What's great about this movie is that Hlyner (the slacker) doesn't learn some huge moral lesson, just like in real life. He doesn't have some great epiphany. He doesn't change his slacker ways very much (you get the feeling he's too attached to them - any guy who wonders why they don't have porn on cable TV in the morning defines himself as a slacker).
What he does is make you sympathize and feel his distant connection to the world around him. That alone is worth watching the movie. There are some genuinely funny moments, not like in a comedy, but the kind you've probably had yourself, where you don't laugh out loud at the time but you recall it with amusement for years.
Check it out, it's worth your time.
What he does is make you sympathize and feel his distant connection to the world around him. That alone is worth watching the movie. There are some genuinely funny moments, not like in a comedy, but the kind you've probably had yourself, where you don't laugh out loud at the time but you recall it with amusement for years.
Check it out, it's worth your time.
If you're into Iceland, this is for you.
likai23 October 2002
As a movie it's not that great and doesn't really make any sense, but if you're into Icelandic music or culture and want to sample the night life on film then it has everything you need. It's not a bad film, but it isn't great either. I'd give it an above average rating and I recommend that people take a look. But it lacks any clear direction and does fall into over used cliches every now and again.
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