It’s a tradition for me to catch a Danish film at MSPIFF. Back in 2021, I checked out the dark comedy Riders of Justice, which is both written and directed by Anders Thomas Jensen, featuring Mads Mikkelsen in the lead role. The concept of The Last Viking sets the stage for some hilarious moments, while Jensen fully leans into the story’s absurdity and unapologetic darkness. It’s quintessentially Danish cinema, filled with deadpan humor and a cast of eccentric characters in bizarre situations. Nikolaj Lie Kaas portrays Anker, a recently released bank robber who’s hell-bent on getting back the stolen loot he handed over to his neurodivergent brother Manfred (Mikkelsen). Manfred has buried it in a secret spot, but the thing is, he has dissociative identity disorder. He believes he’s John Lennon and has no idea what Anker is talking about.

The hand-drawn animation, inspired by Nordic folklore, might seem like a random, fun addition, but it actually highlights the story’s themes: loyalty, identity, and the enduring effects of family trauma. The animation narrates a tale about a Viking king who commands all his subjects to amputate an arm so his disabled son can blend in, and it just gets more absurd from there. The final animated sequence is what the title alludes to, leaving you shaking your head in disbelief at the King’s ludicrous ‘logic.’ Well, the human characters in this film behave in a similarly outlandish manner.

Mikkelsen puts on a wonderfully comedic performance as the quiet but obstinate Manfred, which proves he’s quite a chameleonic actor. Kaas is also fantastic, and it’s interesting to see their roles switched here from Riders of Justice. Kaas played a meek and mild-mannered math nerd in Jensen’s previous movie, while Mikkelsen portrayed the tough guy with anger issues and violent tendencies.

Much of the humor stems from Manfred’s quirky behavior and Anker’s increasing frustration to get his brother to ‘snap out of it.’ Their understanding sister, Freja (Bodil Jørgensen), has already cautioned Anker against using Manfred’s real name. And sure enough, every time he does, Manfred reacts in a drastic way, whether it’s by leaping out of a moving car or off a multi-story building.

On their journey to their family home in a rural, wooded area outside the city, the two brothers meet some pretty interesting folks. One of them is Lothar (Lars Brygmann), who manages to convince Anker that he’s a psychiatrist from the hospital where Manfred was once treated. Lothar says that ‘bringing the band back together,’ so to speak, would help Manfred recover his memory and identity. So, Lothar assembles a makeshift ‘Beatles’ band made up of neurodivergent patients to accompany Manfred’s John Lennon: Kardo Razzazi takes on both Paul McCartney and George Harrison, and Peter Düring plays Ringo Starr. Instead of channeling the Beatles, the band ends up playing ABBA most of the time, ha!

The brothers’ family house is now an Airbnb run by a peculiar couple: a children’s book author who also dabbles in costume design, Werner (Søren Malling), and his sporty wife, Margrethe (Sofie Gråbøl), a former hand model. Despite all the distractions, Anker remains determined to get his stolen loot back, while a menacing figure from his past, Flemming (Nicolas Bro), is after that cash too. Kaas, Brygmann, and Bro formed the nerdy trio in Riders of Justice, but just like Kaas, Bro takes on a completely different role this time, portraying a sadistic villain.

Anders collaborated with a lot of the same cast and crew, including composer Jeppe Kaas, who delivers a tense yet sometimes playful score. The cinematography by DP Sebastian Blenkov perfectly sets the mood, reflecting the dark and ominous vibe of the Nordic landscape.

The bursts of violence are quite brutal and bloody, particularly in the flashback scene featuring Anker and Manfred. The transition from comedy to a violent crime thriller can feel a little jarring; some might call it uneven, but the level of humor and tension remains high. Even when I was bracing for the spray of horrific violence, one scene in particular leaves an unsettling aftertaste. One thing I observe about Jensen’s films is that both films I’ve seen are heavily focused on male characters, featuring a predominantly male cast. There are only two women in somewhat prominent roles here, and neither is given a meaningful arc.

Overall, the movie is hilarious and really entertaining. All the IKEA facts (thanks to Lothar) had me laughing out loud, and the heartwarming ending nearly makes up for the violent third act. There’s a bit of a cliché in the massive action franchise Fast and Furious, with the theme of ‘It’s all about family’ that doesn’t always feel earned, but in this case, the darkness somehow paves the way for a touching bond between the two brothers. If you love Danish films, this one is not to be missed!