Hans Petter Moland hadde i går kveld verdenspremiere med Kraftidioten på Berlinalen og kunne våkne opp til gode kritikker i internasjonal bransjepresse. Både Screen og Variety fremhever filmens mørke, komiske univers som de mener bare løselig hører hjemme i kategorien «nordic noir». Screen trekker også paralleller Coenbrødrene og Tarantino:
“It could even fall into Coen Brothers or Tarantino territory. While perhaps not to all tastes – and possibly too mainstream for a Berlin competition film – it is a delightfully sustained and engagingly absurd film that demands wide distribution and could just as easily be acquired for re-make rights alone”.
Skarsgårds pokeransikt kler filmen utmerket, mener kritikeren, som også liker rollegalleriet rundt ham.
“Around him there is a lot of dark fun to he had. Whether it is the gay relationship between two of the Counts mobsters; the two local policemen who can’t stand the sight of blood; the Count at his juicer making drinks for his gang, or the Serbian mobsters frolicking like children in the snow, dark humour permeates this playfully droll crime film”
Varietys anmelder Peter Debruge mener Molands film denne gangen ligger nærmere amerikansk film i valg av virkemidler:
“From its double-digit body count to the Dirty Harry-like intensity with which its protagonist (Stellan Skarsgard) goes about avenging his son’s murder, “In Order of Disappearance” feels more like an American crime thriller than virtually anything Scandinavia has produced before. Slick, clever and powered by the conviction that sooner or later justice will be served, Norwegian director Hans Petter Moland’s darkly comedic picture — his fourth collaboration with Skarsgard — could certainly pass for a Hollywood studio release in all technical respects, and if only the dialogue were in English, “Disappearance” might be looking at some serious domestic box office.”
Han synes Moland og Fupz holder god kontroll på den let stiliserte voldsspiralen:
“Moland and Aakeson maintain a firm grasp on the pacing, progressively building both carnage and suspense as the situation escalates toward a Mexican standoff of which even Sam Peckinpah would be proud. Whereas the film previously managed to tick off the names of its victims in order of their disappearance, it must now resort to crowding multiple casualties onscreen at once. Audiences would do well not to grow too attached to any of the characters, for hardly any of them make it out of this highly uncharacteristic Norwegian affair alive.”