Lack of good storyline.

Instead, you get a movie that's enjoyable enough, but leaves you feeling like it could have been much, much more.

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

What a great movie. I thoroughly enjoyed it. It deals with so many issues in its short running time, and while it doesn't offer any solutions, it does make you think. That's a good thing. Well acted by all involved, especially the younger actors, who do not shy away from some very difficult scenes. The story is entertaining and engrossing.

Although Kapgang has lots of sweet and loving moments, I found it mainly a painful and confronting drama. And a good one, in the tradition of the Scandinavian coming of age films of the 70's. Having lost my father at young age in the 70's, I can imagine the way Martin deals with his grief. On one hand very mature, because you don't (want to) understand what happened. On the other hand - at the grave of his mother - an explosion of pain as he realizes that she is not coming back. Main actor Villads Boye and director Niels Arden Oplev make it realistic and confronting. His father is broken, he sleeps in the basement and f**** with the hairdresser His brother is broken too, he wears his mom's sunglasses and is raged when Martin burned their mothers clothes. Martin acts as the adult of the family. The coming of age part surprised me. There is sexual tension between Martin and Kristine, but even more between Martin and his friend Kim. The menage a trois seems to develop in a happy way for Martin, but in the end it feels that he is the looser. Kim and Kristine make love on Martins confirmation party, he becomes just speed walking champion. But he has to move on...The combination of love and death, both with it's embarrassing moments makes Kapgang a special movie worthwhile seeing.

Speed Walking is far different from director Niels Arden Oplev's The Girl with the Dragon Tattoo. But it's as engagingly and movingly told and it too deals with sexuality, its power and abuse. Fourteen-year-old Martin's growth through the film can be summarized by the two framing songs: Love Hurts and This Is My Life. As his confirmation takes him into manhood he plumbs the meaning of the clichés in the first song and adjusts to handle the last one's sense of responsibilities and maturity. The plot traces his learning the truth of phrases he has only heard, like the first song title, puddle whacking, "my condolences," love, betrayal, and adulthood (aka adultery).The film presents a pragmatic view of sexuality. The widowed father addresses his needs with the obliging hairdresser Mona. When Martin objects she passes her friend on to a prostitute in a nearby town. Another man offers condolences along with a bottle of scotch and some porn magazines, for "when you feel up to it again." A close relative puts up with an abusive, unfaithful drunk husband, but quietly rebels (as in servicing Martin's older brother). Martin also experiences his first sexual impulses. He feels drawn to both his male friend Kim and the pretty Kristine. She values Martin because only he did not tease her about her braces. She cautions him against "going too fast" just before naming him her boyfriend. Because Martin didn't go fast enough Kim beats him out (instead of off).The title reference to Martin's sport is a metaphor for the difficulty of growing up. Speed walking is not running slow but walking fast. It's a matter of balance, timing, restraint, control, stretch — like life. Visually it also includes an element of strut, style, so it gives Martin a ready outlet for his increasing confidence when his romance seems to be going well.At the end Martin sets his life course by winning the speed walking race, which sets him up to compete in more ambitious contests. He's comfortable with his two missed lovers, the alliteratively destined Kim and Kristine, jointly cheering him on.The drunk Rolf said "Sometimes it doesn't pay to get ahead of yourself." That would be the walker who lapses into running. The film movingly plays on the cycle of life. Martin's mother dies but he doesn't know that when he cycles past all the pitying neighbors, his indiscreet ghetto blaster warning Love Hurts. A pregnant teacher's water breaks in the midst of her class on frying mackerel. The class wheel her to the principal's office. Events happen with unsynchronized responses. Martin doesn't fathom or react to his mother's death until her burial, when he insists she's still alive. Amidst the grief his grandmother berates his father for neglecting and forgetting his wife, oblivious to his suffering. That's our life.

This is a lovely movie about a transition to adulthood. Martin goes through the typical elements of it including friendship, love, sex, death, and seeing his father and other adults as people with flaws and weaknesses. He experiences his first romantic disappointment and takes in a lot of experience to process but keeps going. As an American, I kept waiting for the things that might typically happen but the movie never strayed into the trite. It's amazing in its running time how many characters that we get to know. Part of me wants to see more but part of me loves the feeling that we are left with, not of resolution but of Martin greeting the joys and challenges of adulthood and the sense that he's going to be just fine.