It's fun, it's light, [but] it has a hard time when its tries to get heavy.

It isn't all that great, actually. Really cheesy and very predicable of how certain scenes are gonna turn play out. However, I guess that's the charm of it all, because I would consider this one of my guilty pleasures.

Story: It's very simple but honestly that is fine.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

An incredibly intriguing, engaging, emotional and thoughtful drama from Denmark. Intriguing because there is a mystery about the sequence of events. You see the movie from one brother's perspective, initially, and there's a question mark over the whereabouts of the other brother. Then you see the other brothers story, starting a few weeks earlier, and everything starts to fall into place. A very clever plot device.Engaging and emotional because you feel for the characters. They might not be the most angelic of people, but they are people worth caring about. You are drawn into their characters and relationships, and keep fearing for the worst.Thoughtful because of how the movie depicts life at its rawest and people at their mot vulnerable, in a very sensitive and intelligent manner.Not perfect though. The film is a bit rough around the edges. There are some minor character inconsistencies and some small sub- plots are inflated all out of proportion. Solid performances all round, including one of the better performances you'll see from a child: Gustav Fischer Kjærulff as MArtin.Great script and direction from Thomas Vinterberg, who I'm sure we'll hear a lot more of in the future. He has already directed one English-language/US-based movie, Dear Wendy, so will not be totally foreign to US audiences. His follow-up to Submarino, The Hunt, received a Best Foreign Film Oscar nomination in 2014, and has pushed him further into the limelight. He is bound for great things.

Danish screenwriter and director Thomas Vinterberg impressed me beyond words with his second feature film "The Celebration" (1998) which was made three years after he founded Dogma 95 with Lars Von Trier and strongly influenced by this concept. In his latest film it early on becomes evident that Thomas Vinterberg has distanced himself from the Dogma 95 period and created a far more individual style. The story is set in present day Copenhagen, Denmark and tells a tale of two brothers branded by a childhood incident which has estranged them. Nick battles his anger on a daily basis through beer-drinking and weightlifting and has a strange relationship to his single-parent neighbour named Sofie, and on the other side of town his younger brother named Martin tries to raise his six-year-old son while nursing his heroin addiction. "Submarino" which was adapted from a novel written by Danish author Jonas T. Bengtsson in 2007, is reminiscent of Danish filmmaker Ole Christian Madsen's "Nordkraft" (2005) though it proceeds it by far. The bleak and unappealing milieu depictions are very authentic and the harshness of this unsentimental story about family ties are both intensified and contrasted by the deliberate use of strong light and vivid colors. Thomas Vinterberg and Danish co-writer and filmmaker Tobias Lindholm conveys this gritty and raw social-drama through a forceful linear narrative, tells several minor stories through a few supporting characters played convincingly by actress Patricia Schumann and Danish actor Morten Rose which builds up towards a grand scale study of character concerning a man's yearning for reconciliation and redemption, which is the core of this majestic piece of storytelling which i consider as one of the greatest achievements in recent years of Scandinavian cinema."Submarino", which premiered In competition at the 60th Berlin International Film Festival in 2010, is a small love-story, a story about a dysfunctional friendship and a multifaceted story about a deeply damaged relationship between two brothers who are gradually descending into unredeemable paths of self-destruction. Nordic filmmaker Thomas Vinterberg's brilliant filming and mixture of long and short takes increases the pace in a thematically challenging film which is seen from the main character's point of view as he often wanders through the streets of Denmark's capital looking for the courage to once and for all confront his past and seek out his brother. This complex character is embodied by Danish actor Jacob Cedergren whose towering acting performance earned him a Best Actor nomination at The 23rd European Film Awards in 2010.

We see two separate but continuously interleaving stories of two brothers, each trying to cope with their daily lives, overall providing for a pessimistic view on their lives, riddled with drugs, violence, alcohol, bad housing circumstances, but at the same time trying to deal with their responsibilities like caring for a kid. The title of the film says it all: it stands for a method of torture, where someone is kept under water until he nearly drowns.Though knowing no people living in similar depressing circumstances, casting and acting looked very convincing to me. Apart from that, we saw a sequence of events that kept us wondering what would happen next. All this resulted in a "page turner" experience, fundamental to a good movie.Alternating between the stories of the two brothers was an extra bonus that made this film entertaining throughout. They each live their own separate lives, under circumstances that are very different but equally troublesome. Their respective paths cross each other in less than a handful of situations. Once you get a fix who the main characters are, this way of structuring two story lines works perfectly.The film opens with a prologue, wherein two young boys imitate the baptism of a newly born child "just like they do in church". After that, the real story takes off, but I could not connect the dots at the point where the prologue moves on to the actual two story lines. Maybe I was not paying attention enough. I had to wait until the final scene before I understood. Regardless, it did not hinder my appreciation of the film as a whole.Given all things happening you cannot expect everyone to live happily ever after. Nevertheless, the finale of the movie shows a moving scene under impressive musical tones, where even the toughest role players seem to show some tears. It may be intended by the film makers to leave us with an optimistic feeling after all, with some silver lining around the clouds.

Still involved in his preoccupations with collapse of family foundation and its bonds (as evident also in his fantastic Dogme 1, FESTEN), Vinterberg comes back to Berlin with a film which is not about love at all, but about misery in general. SUBMARINO is the story of lack of love, family and commitment which is reflected in addiction, despair and murder. Looking through a glass darkly at the depressed people in times of depression, it gains its strength from the constraint approach to the subject matter. In his usual personal visions (of course, without a trembling camera after his Dogme propaganda and anti-bourgeoisie pretense), Vinterberg finds his way through a way far from any sentimentality. Grey overtones in each shot marks the world he's going to portray – a world in which everyone has forgotten all about fear and trembling. However it seems too naturalistic, SUBMARINO is able to make a survey into the lives of miserable men of the third millennium, not as a tearjerker, but as a veritable mirror