The Darkness didn't need the American style tropes, such as Lydur, the abusive boss; too reminiscent of Dirty Harry's boss, and the superiors of most other police characters who step outside prodecure to do the job their way. The story simply doesn't need this. Scandi films are always superb. They never need international actors; they are real enough as is. Lena Olin is the PERFECT Hulda, strong, determined, weatherbeaten, yet broken by Dimi's death. When Hulda purposely crashed the car she could have restrained the killer before entering the house, another missed chance when he's knocked unconscious in the house; Hulda is too experienced to leave a killer loose. But this would reduce the suspense, so although frustrating, it is, from the storyteller's perspective, understandable. When Hulda refused to turn and face the killer, it's made poignantly clear she would rather be with Dimi 'in heaven' than live with her grief, so I forgave the ending, although relieved to see her in hospital.
The Darkness didn't need the American style tropes, such as Lydur, the abusive boss; too reminiscent of Dirty Harry's boss, and the superiors of most other police characters who step outside prodecure to do the job their way. The story simply doesn't need this. Scandi films are always superb. They never need international actors; they are real enough as is. Lena Olin is the PERFECT Hulda, strong, determined, weatherbeaten, yet broken by Dimi's death. When Hulda purposely crashed the car she could have restrained the killer before entering the house, another missed chance when he's knocked unconscious in the house; Hulda is too experienced to leave a killer loose. But this would reduce the suspense, so although frustrating, it is, from the storyteller's perspective, understandable. When Hulda refused to turn and face the killer, it's made poignantly clear she would rather be with Dimi 'in heaven' than live with her grief, so I forgave the ending, although relieved to see her in hospital.