Name: Stockholm Bloodbath Movie Review – Mikael Håfström’s Historical Action Comedy Suffers an Identity Crisis
Item: Stockholm Bloodbath
Author: Sergio Pereira

When it comes to nailing the pure entertainment factor, director Mikael Håfström hardly misses, whipping up a frenzy of fun flicks such as Escape Plan and Outside the Wire. Stockholm Bloodbath‘s name alone promises an onslaught of mayhem and carnage, and the action-packed film largely lives up to this; however, one can’t help but feel short-changed in the end. Håfström could have committed more to the zany elements of the script rather than get lost in trying to become too Vikings-esque in its poignant moments.

It sounds silly to say – especially since Stockholm Bloodbath is based on the real-life massacre between Sweden and Denmark in 1520 – so there was always going to be a gravitas and authentic drama to this story. Yet, the intent of the film becomes lost at some point here. Initially, Håfström approaches the film from the same perspective as Guy Ritchie in The Ministry of Ungentlemanly Warfare, in the sense that he isn’t afraid to make the characters a bit more comedic and push the violence over the top. Halfway through the second act, though, he tugs extra hard on the heartstrings, seemingly forgetting about the lighter moments altogether. “Why shouldn’t he since this is where matters become serious?” you may ask. Well, it’s tough to take seriously when 30 minutes earlier, King Christian II and his cronies used modern dialogue pearlers like “Show her who’s the f***king boss” and “F**king boom!”

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The film finds a pocket of fiction in a real-life event

Sweden and Denmark find themselves at loggerheads, as King Christian II of Denmark (Claes Bang) aims to destroy Sten Sture (Adam Pålsson) and the Swedish rebellion. A massacre on the day of Swede Anne Eriksson’s (Sophie Cookson) wedding leaves her and her surrogate sister, Freja (Alba August), lusting for revenge. In the background, political shenanigans and backstabbing take place, turning this into a precarious situation where everyone loses something or someone in this war for supremacy.

Stockholm Bloodbath screenwriters Erlend Loe and Nora Landsrød find a pocket to tell their story that uses real-life events as the backdrop for the action, but also allows them to take creative liberties where necessary. The hook of Anne and Freja being on a quest for vengeance appeals from the get-go, personalizing an already fiery tale for the audience. Even when they’re split up in the story, it proves to be a wise choice to heighten the tension and see them serve as important protagonists in different locations.

This storytelling choice enables the action to spread out and for cinematographer Pär M. Ekberg to widen the lens and capture more of the wintery beauty of Scandinavia and purity of nature. Mikael Håfström juxtaposes this serenity by amplifying the gore, producing bloody battles that leave no limb safe from dismemberment. Look, it isn’t grindhouse in its aesthetics, nor does it contain the buckets of blood of something like Evil Dead Rise, but it’s a violent picture done in an artistic and tasteful manner.

The sudden flip in tone changes the entire film

The biggest issue with Stockholm Bloodbath lies in the sudden 180 in tone where the comedy disappears and the drama intensifies for the rest of the movie. It seems intentional too since all the actors adapt and display more solemness in their actions as the scars of battle become all too real. Except for Claes Bang.

Make no mistake, Bang sinks his teeth into the character of King Christian II and portrays him with a manic glee, encapsulating a man who might not be in the right frame of mind to lead a country or make decisions. Bang has a ball with a part, though, seesawing between Dr. Demento of Furiosa: A Mad Max Saga and Nandor from What We Do in the Shadows and establishing himself as the standout performer of the film.

However, the tonal shift rocks the audience, forcing everyone to wonder if this is a tale of two cuts competing for supremacy. Bang appears to understand what the film is meant to be, but does anyone else? While it’s a completely different genre, it’s reminiscent of David Ayer’s Suicide Squad where it’s obvious there are two tones clashing on screen and stitched together. In this instance, the film would have benefitted if Håfström picked a lane and stuck to it all the way through.

Is Stockholm Bloodbath worth watching?

The first half of Stockholm Bloodbath had me thinking: “Wow. This might be my movie of the year.” However, the second part plays out like a typical television drama. That isn’t to say it’s an unwatchable film, but it remains one of the biggest what-ifs of 2024. If Mikael Håfström had fully committed to the comedy aspect instead of trying to audition for a directing gig on House of the Dragon, this film would have been an instant classic.

The Review