After his son (Toke Lars Bjarke) accidently shot himself and his wife (Claire Ross-Brown) left him, cop Frank (Kim S�nderholm) got off the rails, was first sent to a mental facility for some time and then deemed too unstable to be working as a cop anymore. Nowadays he's working as a hitman for crime kingpin Holger (Peter Ottesen), and is suffering from depressions and alcoholism otherwise - and the only friend he has is Emily (Alice Haaber), a hooker with a heart of gold, for whose companionship he has to pay though.

But still, Frank tries to keep a certain dignity by sticking to a code of honour, like to only kill bad people and spare the innocent, even if it's at a personal risk - and exactly this is the beginning of his downfall, as Holger does not like the fact that Frank repeatedly lets witnesses slip away and turns down jobs ... and when Frank messes up a job where he was supposed to bring someone in for questioning alive but kills him instead, Holger decides that Frank has become a liability, and has his top hitman Hiru (David Sakurai) take him captive, teach him a lesson and kill him. But somehow, Hiru fucks up, and Frank lands in hospital instead of in the morgue, and when Emily, who has developed actual feelings for him, is called to his bedside, she has the good sense to bring a gun - and soon enough, Frank really has to shoot his way out of the hospital after Holger has sent some goons to take care of him.

Frank is now a hunted man because both the police (because of the hospital shooting) and Holger and company are after him. But instead of going into hiding, Frank takes the offensive, tortures Holger's whereabouts out of one of his men, and ...

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Kim S�nderholm

When watching Tour de Force, one can't help but being reminded of flawed cop masterpieces Violent Cop and Bad Lieutnant - yet Tour de Force holds its own in comparison remarkably well, as it never quotes or desperately tries to live up to the older films, instead successfully develops a story all of its own. An unexcited yet exciting directorial effort brings the story to life quite beautifully, and with himself in the lead, writer/director Kim S�nderholm has also found the perfect embodiment for his lead character, since (as usual) he is just great in combining inner torment with a very physical performance. And a good ensemble cast portraying well-written characters does not hurt at all neither.

In all, Kim S�nderholm's best film so far, and one that certainly makes one look forward for things to come from that man, who should have a great career as a filmmaker ahead of himself.

review � by Mike Haberfelner

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