--- title: "Headhunters" year: 2011 kind: "film" canonical: "https://film.one/film/headhunters" fi1m_id: "headhunters" imdb_id: "tt1614989" tmdb_id: 70670 wikidata_id: "Q1592308" fi1m_score: 80 critics_score: 72 critics_reviews: 17 published: "2026-10-01T22:04:40.251128+00:00" updated: "2026-10-01T22:04:40.789212+00:00" region: "DE" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Headhunters (2011) Directed by Morten Tyldum · 1h 40m · FSK 16 · Thriller, Crime, Action ## Identity Headhunters - **Canonical:** https://film.one/film/headhunters - **Type:** Film - **Fi1m ID:** headhunters - **IMDb ID:** tt1614989 - **TMDB ID:** 70670 - **Wikidata ID:** Q1592308 - **Same entity:** https://www.imdb.com/title/tt1614989/, https://www.themoviedb.org/movie/70670, https://www.wikidata.org/wiki/Q1592308 **Fi1m score: 80** · Critics 72 from 17 reviews *In a sentence:* An awful lot of running for a man so concerned with appearances > Morten Tyldum’s *Headhunters* is a brisk, viciously funny thriller, held together by an anxious, resourceful performance from Aksel Hennie. The plotting grows too pleased with itself, but the pursuit earns our attention long before the explanations arrive. ## Synopsis Roger Brown (Aksel Hennie) is preoccupied with wealth, appearances and his standing in the world. Around him are Diana Brown (Synnøve Macody Lund) and Clas Greve (Nikolaj Coster-Waldau), as the life Roger wants to preserve begins to unravel. His failings become serious liabilities when criminal complications put him in danger. Maintaining his status gives way to the immediate problem of staying ahead of a relentless pursuer. Roger has to improvise his way through increasingly dangerous situations, with little opportunity to recover his composure before the next problem arrives. ## Review Morten Tyldum makes a thoroughly entertaining thriller out of a man who is difficult to like. In *Headhunters*, Roger Brown’s vanity matters as much as the danger pursuing him, and the comedy depends on taking both seriously. The film is cruel, quick and occasionally over-arranged, with enough feeling in its central performance to keep the cruelty from becoming tiresome. At 100 minutes, it also knows how long this sort of pressure can usefully be sustained. Aksel Hennie gives Roger enough anxiety to make his concern with status understandable, even when it makes him objectionable. His mortification is funny because he keeps trying to preserve the seriousness with which he regards himself, despite increasingly persuasive reasons to abandon it. We laughed at Roger’s humiliation, then felt slightly cruel: the panic that Aksel Hennie conveys is too convincing to dismiss. His distress keeps us interested even when Roger’s conduct gives us little reason to be generous. The screenplay by Lars Gudmestad and Ulf Rydberg, adapted from Jo Nesbø’s novel, gives that performance a demanding succession of problems. Information that initially seems incidental is made to matter, which lets the surprises feel prepared even when the situations become extravagant. Roger’s failings keep the story moving, and our interest survives stretches in which sensible conduct is in short supply. The demands on belief accumulate, but the film usually supplies another immediate problem before we can start examining the previous one. John Andreas Andersen’s polished cinematography suits a character so invested in how things look, while keeping the pursuit sufficiently clear to follow. That clarity matters when the dangers begin arriving faster and the comedy depends on our understanding just how badly things are going. Nina Bjerch Andresen’s production design gives Roger’s attachment to wealth a useful visual basis, making his concern with appearances feel habitual. The finish serves the character without demanding that we pause to admire it. Vidar Flataukan’s editing keeps the action readable as its demands become increasingly unreasonable. There is room for the embarrassment to register before the next danger takes over, and that timing helps prevent the chase from becoming numbing. Jeppe Kaas’s contribution to the score supports the tension efficiently, though the music has less personality than the central performance. Morten Tyldum generally lets a predicament become uncomfortable enough to earn its laugh before sending Roger towards another one. The weakness is the script’s insistence on accounting for itself. As the explanations accumulate, there are passages when we feel the writers making sure every connection has been understood, and the pace briefly suffers. Some of the plotting is implausible enough that this extra attention does it no favours. The film has already persuaded us to accept considerable exaggeration, so the effort spent explaining the machinery feels unnecessary, particularly when it takes time away from the actors. Among chase thrillers, *Headhunters* distinguishes itself through the embarrassing business of being Roger Brown. The physical danger works because Aksel Hennie gives us reasons to care about a man we might otherwise be happy to avoid. There is nothing especially unusual about putting a flawed protagonist under pressure, but the performance makes each further indignity matter, and the direction keeps the threat sufficiently serious. Accept a little contrivance, and settle in for an agreeably uncomfortable evening. *Fi1m score 80, published 1 October 2026.* ## What the critics say Most critics find Headhunters a brisk, darkly funny thriller whose escalating dangers and reversals largely justify its excesses. Praise centres on Morten Tyldum’s lively direction, the momentum of the chase and Aksel Hennie’s performance as a deeply flawed man under increasingly humiliating pressure. Hennie gives the reviews a particularly firm point of agreement: his charm, physical agility and visible desperation help keep the protagonist watchable as the plotting becomes more outlandish. Reservations cluster around plausibility and the handling of the final stretch, with complaints about plot holes, clumsy exposition and overly neat resolutions. Some also find familiar formulas beneath the surprises. The spread is wide, though strongly weighted towards approval rather than evenly divided. Slant Magazine supplies the sharpest dissent, finding the film mean-spirited and empty, and its protagonist too thinly drawn for his suffering to be entertaining. ## Straight answers **Is Headhunters worth watching?** *Headhunters* is well worth watching for fans of brisk, darkly funny chase thrillers, and we score it 80 out of 100. Aksel Hennie’s anxious performance makes an objectionable man worth following, though we find the plotting occasionally implausible and the explanations more elaborate than the film needs. **How long is Headhunters, and what is it rated?** *Headhunters* runs 1h 40m and is rated 16 by the FSK in Germany. It is a thriller and crime film. **Where can I watch Headhunters in Germany?** *Headhunters* is available to rent from Apple TV from €3.99. Availability is checked daily; the links above go straight to each service. **How violent or frightening is Headhunters, and is it suitable for children?** *Headhunters* carries a UK 15 certificate and is not suitable for children; its relentless pursuit and increasingly dangerous situations make it a tense choice. The certificate indicates material intended for viewers aged 15 and over, while we find the cruel humour and convincing panic make the danger uncomfortable rather than merely playful. **How does Headhunters compare to After Hours?** *Headhunters* is the better fit for a tense criminal pursuit, while [*After Hours*](https://film.one/film/after-hours) is our recommendation for unnerving comedy about an evening becoming unmanageable. Both find humour in an anxious man’s worsening predicament; we find *Headhunters* occasionally over-explains its plotting, whereas *After Hours* has a weakness in women who chiefly serve to frighten its protagonist. **Is Headhunters based on a true story or a book?** *Headhunters* is adapted from Jo Nesbø’s novel, rather than presented as a true story, with a screenplay by Lars Gudmestad and Ulf Rydberg. We find it works without prior knowledge of the book: Roger’s vanity, panic and improvised responses to danger give the thriller enough to hold our attention on their own. ### Reviews we read (17) - **The Guardian**, Philip French (90/100, inferred): French praises the adaptation as an intelligent, cool and brutal Scandinavian thriller. He singles out its cleverly prepared surprises and relentless, inventive chase for particular approval. [Read](https://www.theguardian.com/film/2012/apr/08/headhunters-jo-nesbo-film-review) - **IndieWire**, Eric Kohn (B+): Kohn finds the film an exhilarating, comic chase that eventually falls back into familiar formulas. He praises Morten Tyldum’s lively action direction and Aksel Hennie’s nimble, Keaton-like performance. [Read](https://www.indiewire.com/news/general-news/locarno-review-despite-fix-to-formula-comic-misadventure-headhunters-recalls-the-fugitive-52919/) - **The AV Club**, Sam Adams (B+): Adams finds it a consistently surprising thriller that maintains coherence. He praises Aksel Hennie’s transformation into a scarred, humiliated underdog pursued by an implacable adversary. [Read](https://www.avclub.com/headhunters-1798172531) - **Time Out**, Tom Huddleston (4/5): Huddleston gives the film a strongly positive four-star verdict. The page teaser singles out its relentless succession of increasingly extreme dangers and reversals. [Read](https://www.timeout.com/movies/headhunters) - **Total Film**, Matt Glasby (4/5): Glasby gives the film a strong review, praising its fast-moving action and tonal daring. He especially singles out Aksel Hennie’s charming performance as the deeply flawed protagonist. [Read](https://www.gamesradar.com/headhunters-review/) - **Los Angeles Times**, Kenneth Turan (75/100, inferred): Turan praises the film as a thrilling, over-the-top ride, despite its implausibilities. He singles out the slick direction and tension-building as strengths. [Read](https://www.latimes.com/entertainment/la-xpm-2012-apr-27-la-et-headhunters-20120427-story.html) - **RogerEbert.com**, Roger Ebert (3/4): Ebert finds the film an entertaining, sharply plotted thriller. He singles out its dark humor and escalating twists. [Read](https://www.rogerebert.com/reviews/headhunters-2012) - **Empire**, Kim Newman (70/100, inferred): Newman finds the film an offbeat, gripping thriller, though more fascinating than exciting. He praises its stylish direction and the charismatic lead performances, alongside its darkly comic, ruthless twists. [Read](https://www.empireonline.com/movies/reviews/headhunters-review/) - **The New Yorker**, Anthony Lane (65/100, inferred): Lane finds the film admirably swift but dangerously silly in what it asks viewers to accept. He praises Aksel Hennie’s nuanced, mortified portrayal of Roger Brown as the film’s central strength. [Read](https://www.newyorker.com/magazine/2012/05/14/double-lives-2) - **Variety**, Boyd van Hoeij (65/100, inferred): The critic finds the Norwegian thriller slick and engaging despite its by-the-numbers, predictable middle. He praises Aksel Hennie’s performance for making the protagonist’s increasingly desperate plight compelling. [Read](https://variety.com/2011/film/reviews/headhunters-1117945778/) - **Screen Daily**, Dan Fainaru (64/100, inferred): The accessible page identifies this as a review, but its verdict is hidden behind the paywall. The available text does not reveal what the critic praised or criticized. [Read](https://www.screendaily.com/headhunters/5030570.article) - **Slant Magazine**, Calum Marsh (1/4): The critic dismisses the film as mean-spirited and insubstantial, with no meaningful ideas beneath its nastiness. He particularly faults its protagonist for being an unsympathetic cipher whose suffering offers little enjoyment. [Read](https://www.slantmagazine.com/film/headhunters/) - **Den of Geek**, Ryan Lambie (4/5): The critic praises Headhunters as an engrossing, funny, fast-paced thriller, despite a conclusion that feels a little too neat. He singles out Roger as a wonderfully flawed and watchable protagonist whose misadventures drive the film’s humor and suspense. [Read](https://www.denofgeek.com/movies/headhunters-review/) - **Digital Spy**, Ben Rawson-Jones (4/5): The critic finds the thriller gripping, surprising, and great fun despite a late stretch of clumsy exposition. Aksel Hennie’s performance is singled out for its fit with the film’s serious yet playful tone. [Read](https://www.digitalspy.com/movies/a374412/headhunters-review-aksel-hennie-shines-in-scat-and-mouse-thriller/) - **/Film**, Germain Lussier (8.5 out of 10): The critic recommends the film as a hugely entertaining, twisty heist thriller despite some plot holes. They single out its laughs, action, charming performances and unexpected turns for praise. [Read](https://www.slashfilm.com/517743/minireviews-exciting-heist-thriller-headhunters-blind-jiujitsu-mystery-aardvark-fantastic-fest-2011/) - **Eye for Film**, Anton Bitel (75/100, inferred): Bitel finds the film an entertaining, mainstream thriller with a sharp parable beneath its twists. He especially praises the dark comedy that punctures the anti-hero’s obsession with appearances and wealth. [Read](https://www.eyeforfilm.co.uk/review/headhunters-film-review-by-anton-bitel) - **HeyUGuys**, Craig Skinner (3.5/5): The critic finds the film a thoroughly enjoyable, slick thriller with enthralling plotting and perfect pacing. They praise Aksel Hennie’s convincing performance as Roger’s life and status unravel. [Read](https://www.heyuguys.com/lff-2011-headhunters-hodejegerne-review/) ## Details - **Director:** Morten Tyldum - **Director:** Morten Tyldum - **Screenplay:** Ulf Rydberg, Lars Gudmestad - **Novel:** Jo Nesbø - **Cinematography:** John Andreas Andersen - **Editor:** Vidar Flataukan - **Music:** Trond Bjerknæs, Jeppe Kaas - **Production design:** Nina Bjerch Andresen - **Costume design:** Karen Fabritius Gram - **Producer:** Asle Vatn, Marianne Gray - **Cast:** Aksel Hennie as Roger Brown; Synnøve Macody Lund as Diana Brown; Nikolaj Coster-Waldau as Clas Greve; Julie R. Ølgaard as Lotte; Kyrre Haugen Sydness as Lander; Valentina Alexeeva as Natasja; Reidar Sørensen as Brede Sperre; Eivind Sander as Ove Kjikerud - **Runtime:** 1h 40m - **Certificate (FSK):** 16 - **Release (Germany):** 15 March 2012 - **Genres:** Thriller, Crime, Action - **Box office:** $19 million ## Where to watch in Germany - Apple TV: rent €3.99, hd - Apple TV: buy €9.99, hd *Checked 2026-10-01.* Also available in: AT, CH, CZ, DE, DK, ES, FI, GB, IE, NO, SE, UA, US. Add `?region=XX` to this URL for another country. ## Awards - European Film Award – People's Choice Award for Best European Film 2012: European Film Award – People's Choice Award for Best European Film (nominated) - Saturn Awards 2012: Best International Film (won) - The Amanda Public Choice Award 2012: The Amanda Public Choice Award (won) - Silver nugget for the best Norwegian film 2011: Silver nugget for the best Norwegian film (won) ## If you liked this - *The Silent Partner* (1978): Another compromised opportunist discovers that his opponent takes crime rather seriously. - *A Hard Day* (2014): More desperate improvisation, with each attempted solution creating a nastier practical problem. - *The Aura* (2005): For the criminal planning, with less comedy and more patient unease. - *After Hours* (1985), Fi1m 80: Another anxious man discovers how quickly an evening can become unmanageable. — [Fi1m page](https://film.one/film/after-hours.md) - *Tell No One* (2006): A more emotional pursuit thriller, with similarly persuasive momentum through complicated plotting. --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/headhunters