Expectations were high following Refn´s knockout debut "Pusher". The gritty realism of that movie is in part recreated in "Bleeder", but instead of just treading water and doing a Pusher remake, this is much more stylish in its theme and cinematography (e.g. the main characters´ names all start with L; Leo, Lenny, Lea etc. - almost every image seems meticulously composed and lit). The soundtrack seems to be more carefully chosen, supporting the emotions of the characters, seen in the great opening sequence. What ultimately makes Bleeder a minor film compared to Pusher, despite brilliant performances and a downbeat, even oppressive atmosphere, is a fatal lack of the kinetic energy of Pusher, which makes Bleeder a bit dull in spots. The scenes in the video store remind you of Clerks, but are not as funny, and a true movie fan would never mistake blaxploitation star Fred Williamson for Fred Williams (as mentioned in a scene between Bodnia and Mikkelsen), especially considering the hilarious scene in which Mikkelsen incredibly lists the video store´s selection of 50+ schlock directors. I admit that Bleeder has a way of staying with you afterwards, but I had expected a bit more from Refn. Rumours of star Bodnia being committed to a mental institution following the final days of shooting were false and exaggerated by the tabloid press.
30 Reviews
Brimming with power and ultimately devastating
Leofwine_draca22 March 2015
BLEEDER is the follow-up to Nicolas Winding Refn's Danish debut, PUSHER. I think it's a better film in every respect, even if it is less well known: the story, of family dysfunction and human relationships, is brimming with power, and by turns tragic, bleak, and ultimately devastating.
The story sees Leo (Kim Bodnia, of PUSHER fame), attempting to adapt to family life when he finds out his girlfriend's pregnant. Along the way, he continues uneasy friendships with the racist Louis, his girlfriend's brother, and Lenny (Mads Mikkelsen), a loner who works at the local video shop. Of course things eventually become very dark indeed, and more harrowing and shocking than they were in PUSHER.
Refn elicits some excellent performances from his cast, not least from Bodnia, who is quietly terrifying throughout this. A glimmer of hope and humour comes from the presence of the outstanding Mikkelsen, who is my favourite character; the video shop setting allows for plenty of cultural references for film fans. Watch out for PUSHER's Zlatko Buric as another friend. By the end, I felt like I'd done ten rounds in the ring: BLEEDER is that kind of film, and excellent with it.
The story sees Leo (Kim Bodnia, of PUSHER fame), attempting to adapt to family life when he finds out his girlfriend's pregnant. Along the way, he continues uneasy friendships with the racist Louis, his girlfriend's brother, and Lenny (Mads Mikkelsen), a loner who works at the local video shop. Of course things eventually become very dark indeed, and more harrowing and shocking than they were in PUSHER.
Refn elicits some excellent performances from his cast, not least from Bodnia, who is quietly terrifying throughout this. A glimmer of hope and humour comes from the presence of the outstanding Mikkelsen, who is my favourite character; the video shop setting allows for plenty of cultural references for film fans. Watch out for PUSHER's Zlatko Buric as another friend. By the end, I felt like I'd done ten rounds in the ring: BLEEDER is that kind of film, and excellent with it.
Cool. Really cool.
dillrod27 March 2000
While visiting in London, I watched Bleeder. I liked it a lot. Haven't seen any other Danish films, but this one is great. One of the other people commenting here said it was made on a low budget. I certainly wouldn't say it showed heavily. There's no real expensive shots (crowd scenes, explosions, etc), but everything is shot to scale and looks good. Especially the cinematography. This and the acting are perhaps the strongest elements of the film. I kept watching how they had framed each shot and how they would do those angles where one person is in the forground facing the camera with an expression on their face while the other person is off in the background waiting for the foreground person to turn back around. Great! I hope this movie gets distributed in the US.
'Bleeder' is a powerful and unforgettable movie comparable to the films of Gaspar Noe. Depressing yes, but highly recommended viewing.
Infofreak19 February 2004
As much as I enjoyed the super-hyped Dogma movies 'Festen', and 'Mifune', going by 'Bleeder' the real Danish director to watch is Nicolas Refn. He's an exciting talent, and will probably give Lars Von Trier a run for his money in a few films time. 'Bleeder' features a superb performance from Kim Bodnia ('Nattevagten'). He plays Leo, a guy who on the surface seems pretty normal, but who begins to crack up after his girlfriend Louise (Rikke Louise Andersson) unexpectedly announces her pregnancy, and he witnesses a shooting. This begins a descent into a living hell. The movie's bleak and depressing world view is balanced by the bittersweet sub-plot concerning video nerd Lenny (Mads Mikkelsen), and his attempt to "get a life". The scenes showing Lenny working in a to-die-for video store will make most film buffs drool! Lenny rattles off the stores inventory in a funny scene, and the movie is full of film talk from Lindsay Anderson to Fred Williamson, and even includes clips from William Lustig's exploitation classics 'Maniac' and 'Vigilante'. Refn definitely knows his stuff! 'Bleeder' is a powerful and unforgettable movie comparable to the films of Gaspar Noe ('I Stand Alone', 'Irreversible') and Gary Oldman's 'Nil by Mouth'. Depressing yes, but highly recommended viewing.
Good!
dusan-2214 April 2010
When Nicolas Winding Refn gets Zlatko Buric, Mads Mikkelsen and Kim Bodnia together a good movie is a must. Please, disregard narrow IMDb genre classification of the film as "Horror" or "Thriller" as it is the way the movie looks to some five year old child who has not understood anything seen. This art work is a modern life drama colored by David Lynch camera and portrayed by spirit of Bunuel. Excellent art work by well known Danish film school. I said "modern" drama since the movie is getting into the core of the present social structure of the modern world. It shows a depressive slice of our little lives that are being cultivated in silence of violence, loneliness, alienation and lost life course, leading to self-destruction. Dark as our presence. One more good job for Nicolas Winding Refn.
Realistically dramatic, but with uneven pace
BeneCumb5 April 2013
The first half or so is witty and makes you giggle (dialogues resemble Tarantino's movies), then the depiction of a trivial wife-battering becomes dominant and the other story-line (Lenny's and Kitjo's world) get less attention, although Lenny is the most peculiar and distinctive character. With the appearance of a mob and a gun, the film gets more catchy twists, leading to an inevitable solution. The very ending, however, is too numb, a British-style prank could have been in place.
As for the cast, the male stars are fabulous again, especially Mads Mikkelsen (probably the most versatile living Danish actor) and Kim Bodnia (I like him most in The Bridge though); female performers are less uninviting. By the way, why all the leading characters' names begin with L?
Bleeder is okay, but I liked the Pusher trilogy and Drive more.
As for the cast, the male stars are fabulous again, especially Mads Mikkelsen (probably the most versatile living Danish actor) and Kim Bodnia (I like him most in The Bridge though); female performers are less uninviting. By the way, why all the leading characters' names begin with L?
Bleeder is okay, but I liked the Pusher trilogy and Drive more.
Dark and realistic.
Finntroll25 June 2004
Nicolas Winding Refn, the genius behind the excellent "Pusher" sets new standards for danish movies with his new opus "Bleeder". Leo, played by the magnificent actor Kim Bodnia, is gradually going insane as his wife gets pregnant. He feels his life fade away and asks himself how he can put a child into a world that's raw and how they can afford to have one.
The atmosphere is two parts Scorcese's "Taxi Driver" and one part Franz Kafka's "Der Prozess", not very moody in other words. A sub-story about Leo's buddy searching for a girl relieves the pressure a bit, which is for the better as it also adds depth to the movie.
The violence feels very realistic and is sometimes even hard to watch, it's like it all is happening for real. The realistic approach makes this movie feel fresh and not like something you've seen before. After I saw this movie I was left with an uneasy feeling in my stomach and I knew I've seen something very rear and very good.
Nicolas Winding Refn is worth the highest of praise for making a movie like this. It's just what European moviemaking needs.
9/10
The atmosphere is two parts Scorcese's "Taxi Driver" and one part Franz Kafka's "Der Prozess", not very moody in other words. A sub-story about Leo's buddy searching for a girl relieves the pressure a bit, which is for the better as it also adds depth to the movie.
The violence feels very realistic and is sometimes even hard to watch, it's like it all is happening for real. The realistic approach makes this movie feel fresh and not like something you've seen before. After I saw this movie I was left with an uneasy feeling in my stomach and I knew I've seen something very rear and very good.
Nicolas Winding Refn is worth the highest of praise for making a movie like this. It's just what European moviemaking needs.
9/10
Dark, disturbing, but definitely dull
bowmanblue30 July 2016
I really wanted to like 'Bleeder' – a Danish thriller with a young Mads Mikkelsen and The Bridge's Kim Bodnia. It started off well – it introduced us to four men who hung around together with a mutual love of films. This led to some nice dialogue exchanges which built character and created a genuine atmosphere among them. However, the best thing about the build up was the sense that something not very nice was brewing and it was all going to explode sooner or later. Unfortunately, it all exploded later rather than sooner.
Yes, there were a couple of pretty horribly dark moments towards the end of the film, but we're talking VERY near the end of the film. Therefore, by the time you've got the pay-off you've been waiting for it's all over.
Now, I can hear the fans of the movie claiming that I hate films with slow build up that focus on character development and that the only movies I watch involve car chases and over-used CGI. That's not true. I have nothing against slower non-Hollywood output. In fact, I prefer them to constant Michael Bay-style offerings. It's just in this case I felt everything that was good (and there was a lot of good) just seemed not enough when it came to the minuscule moments of 'pay offs.' I just sat there through one long drawn out dialogue scene after the next waiting for something that, when it did finally come, seemed like too little too late.
There's also a romantic sub-plot that seems to be have been crowbarred in. And, finally, there's Mikkelsen himself. When it was all over I realised that his character (despite being one quarter of the film's protagonists) could probably have been omitted all together.
Bleeder is a good film. There's too much right with it to condemn it all together. It will definitely have an audience, but just don't expect wall-to-wall fight scenes or explosions. It's the very definition of a 'slow burner.'
Yes, there were a couple of pretty horribly dark moments towards the end of the film, but we're talking VERY near the end of the film. Therefore, by the time you've got the pay-off you've been waiting for it's all over.
Now, I can hear the fans of the movie claiming that I hate films with slow build up that focus on character development and that the only movies I watch involve car chases and over-used CGI. That's not true. I have nothing against slower non-Hollywood output. In fact, I prefer them to constant Michael Bay-style offerings. It's just in this case I felt everything that was good (and there was a lot of good) just seemed not enough when it came to the minuscule moments of 'pay offs.' I just sat there through one long drawn out dialogue scene after the next waiting for something that, when it did finally come, seemed like too little too late.
There's also a romantic sub-plot that seems to be have been crowbarred in. And, finally, there's Mikkelsen himself. When it was all over I realised that his character (despite being one quarter of the film's protagonists) could probably have been omitted all together.
Bleeder is a good film. There's too much right with it to condemn it all together. It will definitely have an audience, but just don't expect wall-to-wall fight scenes or explosions. It's the very definition of a 'slow burner.'
Excellent
thebogofeternalstench6 August 2010
I remember seeing Bleeder way back in 2004, it was one of the first international films I saw via a DVD shop in UK.
I was becoming incredibly pi$$ed off and fed up with Hollywood mainstream crap at the cinema and on DVD so I ventured into international cinema.
After I saw Bleeder, I felt a wave of awesomeness go over me. I felt alive. It was one of the best films I'd seen in YEARS.
It was so refreshing and meaningful. Packed with substance.
I was very impressed with the acting.
Since then, I've become a big fan of Refn, and I absolutely love the Pusher trilogy.
Its a shame gems like Bleeder never get the recognition they deserve, but plastic hollow over rated Hollywood $hit does.
Top film. See it!!!!!
I was becoming incredibly pi$$ed off and fed up with Hollywood mainstream crap at the cinema and on DVD so I ventured into international cinema.
After I saw Bleeder, I felt a wave of awesomeness go over me. I felt alive. It was one of the best films I'd seen in YEARS.
It was so refreshing and meaningful. Packed with substance.
I was very impressed with the acting.
Since then, I've become a big fan of Refn, and I absolutely love the Pusher trilogy.
Its a shame gems like Bleeder never get the recognition they deserve, but plastic hollow over rated Hollywood $hit does.
Top film. See it!!!!!
Another success for Kim Bodina
raymond-158 August 2002
"Bleeder" following "Pusher" is the second part of a trilogy. Like "Pusher" it's really powerful stuff, but not quite as gripping. Leo( Kim Bodina) gives a wonderful portrait of a disturbed man at odds with life. He teases, insults, provokes, has a violent temper and is quick to retaliate. Not a man to be trusted with a gun. He is his own worst enemy.
In the film the "fades" are done in blood red. See the film and you'll discover why. As in "Pusher" the photography is top class. The introduction of the characters in the opening scene is interesting, Shoes probably do reflect our character.
Despite the rather sordid unhappy atmosphere of the film. there is some light relief particularly in the video store where the young Lenny (Mads Mikkelsen) sorts the video "returns". Lenny is a misfit too but harmless in his own way. Shy of nature he can't keep an appointment with the girl in the coffee shop. Lenny lives in a fantasy world of films and videos and he can recite the names of all the directors. (This never-ending recitation done with a dead pan expression is an unexpected bonus and really got me laughing!}
I like the dialogue. It's sparse, direct, tense, cutting, provoking. But it's the body language that threatens. Kim Bodina is an expert at revealing the innermost thoughts of his being. You can feel the tense atmosphere boiling within him. You know full well that something terrible is about to happen.
This is drama plus. I can hardly wait for the third part of the trilogy.
In the film the "fades" are done in blood red. See the film and you'll discover why. As in "Pusher" the photography is top class. The introduction of the characters in the opening scene is interesting, Shoes probably do reflect our character.
Despite the rather sordid unhappy atmosphere of the film. there is some light relief particularly in the video store where the young Lenny (Mads Mikkelsen) sorts the video "returns". Lenny is a misfit too but harmless in his own way. Shy of nature he can't keep an appointment with the girl in the coffee shop. Lenny lives in a fantasy world of films and videos and he can recite the names of all the directors. (This never-ending recitation done with a dead pan expression is an unexpected bonus and really got me laughing!}
I like the dialogue. It's sparse, direct, tense, cutting, provoking. But it's the body language that threatens. Kim Bodina is an expert at revealing the innermost thoughts of his being. You can feel the tense atmosphere boiling within him. You know full well that something terrible is about to happen.
This is drama plus. I can hardly wait for the third part of the trilogy.
That rare thing - a hard-hitting thriller about alienated men.(possible spoiler)
alice liddell10 May 2000
Warning: Spoilers
I didn't think it was possible to be shocked by a film any more. Once I'd endured and survived the double climax of AI NO CORRIDA or the wedding night of CRIES AND WHISPERS, I thought I could endure anything. Nicolas Winding Refn has proved me wrong with a denouement so grisly, so gruesome, so nightmarishly plausible, I began to actually feel physically sick, disbelieving what I was watching.
David Thomson once complained that Claude Chabrol was always turning the messy, emotional realities of life into crime melodrama, as if this was somehow a cop-out, a refusal of reality. Surely today, where a pair of disenfranchised teenagers can shoot up a school, or a trio of petty criminals are so worked over by drug barons they can only be recognised by their dental records, this is no longer a valid objection. The vulnerability of the domestic and increasing psychosis of the alienated individual linked with gun culture suggests that maybe crime melodrama IS the only way to deal with reality.
Refn, though, does everything in his stylistic power to show how unreal reality has become, in his story of Leo, an unattractive, overweight, brooding, ordinary guy whose lack of enthusiasm for his wife's pregnancy is compounded by her telling everyone, bringing home mothers she's met at laundaries, and replacing his stuff with frog-shaped lamps. This sense of not being a person, a man, not even being asked for his opinion, is further fuelled by social humiliation and the reluctant witnessing of a race-related shooting and assault. His only social life comprising of schlock-movie nights in with his friends, he decides he needs a gun to feel a resurgence of masculine power.
Yes we're in the old FIGHT CLUB/THE BEACH oh-my,-poor-men-are-irrelevant sub-genre. Thankfully, though, Refn never loses his irony, troubling though it may be. The film throughout declares its artifice, its filtering of the medium through cinematic history. Instead of creating credible characters that grow in front of us, he introduces them over the credits with a name, sometimes a social relation (e.g. Leo's wife), and an appropriate musical leitmotif (pumping metallic techno for the lads; sensitive girly music for the ladies.
The film proper opens in a huge labyrinthine video store, and the first conversation is an enumeration of film directors, classic and cult, amusingly slotted into value shelves. Every shot in this film has a predecessor elsewhere, further undermining the film's realism (this is an inverse of another influence, Quentin Tarantino, who made film stereotypes into real people; Refn turns 'real' people into cinematically mediated shadows of themselves).
The credits pay homage to STRANGERS ON A TRAIN; the bloody fades to red could be Godard, Woo, Rollin etc. - dark premonitions of the climax; the idea of blood, family, nation and the very real themes of racism so urgent in Europe today (especially in my own country). The shy video clerk, a benevolent Travis Bickle or Wenders' Goalie.
The influence of Stanley Kubrick, however, is predominant, from the allusions to A CLOCKWORK ORANGE, the extreme wide-angle triangular shots revealing structures of power, the fascination with symmetry, both in composition and in the way alternating shots are edited. Although this style is very intrusive - and we are always aware of the camera - the film follows Kubrick's method of telling its story through its lead's consciouness, pulling us in until it's too late, as we reel away at the result. Refn shares Kubrick's pitiless irony, the sacred strains drowning the techno, the mock-resurrection into the light after the horrific slaughterhouse scene.
It would be wrong to say this film is enjoyable, but it paints a terrifying picture of contemporary Europe cut off from its own past (American culture saturates BLEEDER), yet repeating that past's mistakes. Male disenchanted nihilism is not the most original of themes, and female characters get short shrift.
Yet for all the absorption of 'foreign' culture, BLEEDER is not an indictment of American influence. The film offers hope in the form of two very shy, likeable workers, one obsessed with books, the other with films, both lost in labyrinths of both. Their disengagement from society means that they are not infected by its failure. Their coming together at the end, emerging from their solipsism is a hope, but it's a hope Refn can't quite share, as he abstracts their union, something precious but not quite real.
David Thomson once complained that Claude Chabrol was always turning the messy, emotional realities of life into crime melodrama, as if this was somehow a cop-out, a refusal of reality. Surely today, where a pair of disenfranchised teenagers can shoot up a school, or a trio of petty criminals are so worked over by drug barons they can only be recognised by their dental records, this is no longer a valid objection. The vulnerability of the domestic and increasing psychosis of the alienated individual linked with gun culture suggests that maybe crime melodrama IS the only way to deal with reality.
Refn, though, does everything in his stylistic power to show how unreal reality has become, in his story of Leo, an unattractive, overweight, brooding, ordinary guy whose lack of enthusiasm for his wife's pregnancy is compounded by her telling everyone, bringing home mothers she's met at laundaries, and replacing his stuff with frog-shaped lamps. This sense of not being a person, a man, not even being asked for his opinion, is further fuelled by social humiliation and the reluctant witnessing of a race-related shooting and assault. His only social life comprising of schlock-movie nights in with his friends, he decides he needs a gun to feel a resurgence of masculine power.
Yes we're in the old FIGHT CLUB/THE BEACH oh-my,-poor-men-are-irrelevant sub-genre. Thankfully, though, Refn never loses his irony, troubling though it may be. The film throughout declares its artifice, its filtering of the medium through cinematic history. Instead of creating credible characters that grow in front of us, he introduces them over the credits with a name, sometimes a social relation (e.g. Leo's wife), and an appropriate musical leitmotif (pumping metallic techno for the lads; sensitive girly music for the ladies.
The film proper opens in a huge labyrinthine video store, and the first conversation is an enumeration of film directors, classic and cult, amusingly slotted into value shelves. Every shot in this film has a predecessor elsewhere, further undermining the film's realism (this is an inverse of another influence, Quentin Tarantino, who made film stereotypes into real people; Refn turns 'real' people into cinematically mediated shadows of themselves).
The credits pay homage to STRANGERS ON A TRAIN; the bloody fades to red could be Godard, Woo, Rollin etc. - dark premonitions of the climax; the idea of blood, family, nation and the very real themes of racism so urgent in Europe today (especially in my own country). The shy video clerk, a benevolent Travis Bickle or Wenders' Goalie.
The influence of Stanley Kubrick, however, is predominant, from the allusions to A CLOCKWORK ORANGE, the extreme wide-angle triangular shots revealing structures of power, the fascination with symmetry, both in composition and in the way alternating shots are edited. Although this style is very intrusive - and we are always aware of the camera - the film follows Kubrick's method of telling its story through its lead's consciouness, pulling us in until it's too late, as we reel away at the result. Refn shares Kubrick's pitiless irony, the sacred strains drowning the techno, the mock-resurrection into the light after the horrific slaughterhouse scene.
It would be wrong to say this film is enjoyable, but it paints a terrifying picture of contemporary Europe cut off from its own past (American culture saturates BLEEDER), yet repeating that past's mistakes. Male disenchanted nihilism is not the most original of themes, and female characters get short shrift.
Yet for all the absorption of 'foreign' culture, BLEEDER is not an indictment of American influence. The film offers hope in the form of two very shy, likeable workers, one obsessed with books, the other with films, both lost in labyrinths of both. Their disengagement from society means that they are not infected by its failure. Their coming together at the end, emerging from their solipsism is a hope, but it's a hope Refn can't quite share, as he abstracts their union, something precious but not quite real.
Intense!!!!
arseface10 August 1999
So I travel from Sweden to Copenhagen to see a movie, paying about 15 bucks for the trip, and another 10 for the movie. 25 bucks for a movie???? Was it worth it????
Damn right it was, this is Nicholas Winding Refn´s second feature, and after his masterful debut: Pusher I really had my hopes up. And boy was it good.
The tempo is a little slower than Pusher, but it really suits the movie. It´s got great dialogue that kinda reminded me of Clerks in some places, especially the scenes in the videostore. The theme of the movie in my mind is about men, and our problems with talking to each other and to women. Sure there are scenes with really disturbing and realistic violence. But I feel it has more in common with John Cassavettes, than Abel Ferrara and Martin Scorsese that I think were refn inspirations for Pusher.
The actors are brilliant all around, especially Mads Mikkelsen who does a fantastic performance as a filmgeek, with major problems when it comes to talking and being around girls. And Kim Bodnia gives a really introspective performance that proves his status as one of europe´s if not the whole worlds best actors.
All in all a very powerful, and intense movie that is a must see
Damn right it was, this is Nicholas Winding Refn´s second feature, and after his masterful debut: Pusher I really had my hopes up. And boy was it good.
The tempo is a little slower than Pusher, but it really suits the movie. It´s got great dialogue that kinda reminded me of Clerks in some places, especially the scenes in the videostore. The theme of the movie in my mind is about men, and our problems with talking to each other and to women. Sure there are scenes with really disturbing and realistic violence. But I feel it has more in common with John Cassavettes, than Abel Ferrara and Martin Scorsese that I think were refn inspirations for Pusher.
The actors are brilliant all around, especially Mads Mikkelsen who does a fantastic performance as a filmgeek, with major problems when it comes to talking and being around girls. And Kim Bodnia gives a really introspective performance that proves his status as one of europe´s if not the whole worlds best actors.
All in all a very powerful, and intense movie that is a must see
A Must See
shawnblackman15 November 2016
A wicked drama by the guy who did The Pusher trilogy. A slow burning story about an abusive boyfriend, an over protective brother and a film obsessed video store clerk.
Very gritty and a lot of times pretty disturbing which made this thing rock. Some of the cast from The Pusher films are in this making it even more enjoyable.
It was neat seeing how big the video store was. All VHS as well which means it probably doesn't exist anymore. Even more impressive was the bookstore the woman goes into.
It's Danish so you will have to read it.
Very gritty and a lot of times pretty disturbing which made this thing rock. Some of the cast from The Pusher films are in this making it even more enjoyable.
It was neat seeing how big the video store was. All VHS as well which means it probably doesn't exist anymore. Even more impressive was the bookstore the woman goes into.
It's Danish so you will have to read it.
A disappointment
blakndn26 December 2005
This sucked. I only watched it because "pusher" was entertaining. The only good thing about this is that filmmakers can see how a hand-held camera, and available lighting can make a film cheap and fast. Bummer.
I was amused to see how white racism is universal. As a black person from the U.S., it was interesting to hear Danish Muslims referred to as "niggers" when they looked like white folks to me. I guess all non-whites are "niggers" when you feel threatened by immigrants. Sad.
I'm not sure i would watch any of the directors other work based on this. Like I said before "Pusher" was engaging, and you were sucked into that world. Here, you just didn't care.
I was amused to see how white racism is universal. As a black person from the U.S., it was interesting to hear Danish Muslims referred to as "niggers" when they looked like white folks to me. I guess all non-whites are "niggers" when you feel threatened by immigrants. Sad.
I'm not sure i would watch any of the directors other work based on this. Like I said before "Pusher" was engaging, and you were sucked into that world. Here, you just didn't care.
Fantastic and real
busdog27 May 2004
A complete surprise. Had no idea what I was getting into. As fine as anything by Scorcese, with some similarities to Taxi Driver. An enormous breath of fresh air compared to the awful Hollywood machine. The scenes are real, intense, sometimes violent, always moving. Geniune. This film maker is the real thing. The acting is impeccable. I personally don't care much for symbolism, meta-cinema or the like, but instead prefer a real and dramatic experience. This movie provides all of the above--and that is a rare treat. Someone compared this to Kubrick--there is some of that but what is really different here is the emotion. Kubrick is always (or almost always) dry, sterile, unemotional, stiff. Bleeder is moving--it even at times has some of the emotionalism of a melodrama, but it always remains a drama.
Pusher Light
TBJCSKCNRRQTreviews16 April 2005
With this film coming out several years after Pusher, giving Nicolas Winding Refn plenty of time to work on it, with basically the same cast as Pusher and apparently a bigger budget, I guess I expected more than this. While Pusher was an impressive and gritty look at the underground of Copenhagen, this is just a slightly unrealistic psychological profile of a loser who finds his wife having a baby to be the final straw. The film is about Leo, who hates almost everything about his life. When he finds himself pushed in the background for the baby his wife is to give birth to soon, he flips out and sets a load of bad stuff coming his way in motion. The plot is pretty good, I guess, but it just didn't seem as good as the plot of Pusher. The pacing is fair, but the film too often seems to stand still. The acting was mostly great. The characters are somewhat interesting and credible, but they were too underdeveloped(even more so than those of Pusher), so we rarely understand why they do what they do. The score is great, though it is overly noisy and annoying at times, most of the time it fits in well with the character were watching and his or her state of mind. The cinematography is less interesting and involving than that of Pusher. Less movement, and when there finally is movement, it seems off. The directorial style of Pusher is still there, and this is what makes the film enjoyable and watchable. However, too much time is spent wondering why him or her is doing this and that, and in the end I found that even with a fair bit of analyzing, I can't make heads or tails of the film. I don't know... maybe my expectations were too high. I recommend this to very big fans of director Nicolas W. Refn and/or Pusher. 7/10
I don't think 'Bleeder' offers all that much in my opinion
r96sk26 September 2023
Decent, but quite forgettable.
A second flick from director Nicolas Winding Refn, as he gets all the old 'Pusher' gang back together: Kim Bodnia, Mads Mikkelsen and Zlatko Buric return onscreen together. The latter two are wasted, aside from some quips about cinema (I know Letterboxd ate that up!) and one aimless relationship subplot. I like what Bodnia provides as lead, even if his performance isn't too far adrift from what he gives in that aforementioned 1996 release.
There is at least one scene involving an injection that will remain in my mind (not that it made the most sense, given the character's connection with the injecter's sibling but...). Aside from that though, I don't think 'Bleeder' offers all that much in my opinion. 6/10.
A second flick from director Nicolas Winding Refn, as he gets all the old 'Pusher' gang back together: Kim Bodnia, Mads Mikkelsen and Zlatko Buric return onscreen together. The latter two are wasted, aside from some quips about cinema (I know Letterboxd ate that up!) and one aimless relationship subplot. I like what Bodnia provides as lead, even if his performance isn't too far adrift from what he gives in that aforementioned 1996 release.
There is at least one scene involving an injection that will remain in my mind (not that it made the most sense, given the character's connection with the injecter's sibling but...). Aside from that though, I don't think 'Bleeder' offers all that much in my opinion. 6/10.
Forget all that Dogme-hype cuz this one blows'em away!!
Jens-285 June 1999
The director's debut, "Pusher", was an excellent tribute to American Cinema (Abel Ferrara, Scorsese) and a portrait of the drugworld of Copenhagen but "Bleeder" is much more personal, mature and grim film. The story deals with the relationship of four friends (& B-filmfanatics); a videostoreowner, his helper, a soon-be-a-dad and his girl's violent brother. Things gets complicated between the last two when the guy starts beatin' his pregnant girl and the brother's threatin' to retaliate. When the girl loses her unborn baby after a beatin' things get VERY ugly! There's no real reason for the violence which makes the mood of the movie extremely creepy. The characters and dialogue are very believable and impossible to forget. The few (very) violent scenes are so unexpected that you'll jump in seat. The film are also filled with nods to exploitation cinema (clip from Lustig's "Maniac" & "Vigilante", "Andy Warhol's Frankenstein" etc.). It's made on a low budget but is beautifully filmed (and acted) with a great glampunk soundtrack. "Bleeder" is a movie that gets under your skin for days so check out this masterpiece.
Fascinating Study of Human Relationships
edward_tan16 April 2000
Detractors may highlight the unnecessary violence in this stylish piece of film-making. But pay them no attention. N. Refn's 2nd feature is cutting it pretty close when it comes to assessing life's terrible lessons.
Using almost the same cast as he did in his debut (Pusher), Bleeder tells the story of how a father-to-be deals with his impending fate. It addresses his current state of mind, his readjustment of values and how all this would adversely affect the people around him. The violence is necessary as the characters emanate from the streets and one can only infer, from the several scenes, that the neighbourhood is rough and littered with gangs and racial tension.
There is also a secondary story about the budding relationship between a video store clerk and a well-read waitress which is as sweet as it is subtle. It's interesting to note that their tastes in videos and books are pretty gritty as well.
Using almost the same cast as he did in his debut (Pusher), Bleeder tells the story of how a father-to-be deals with his impending fate. It addresses his current state of mind, his readjustment of values and how all this would adversely affect the people around him. The violence is necessary as the characters emanate from the streets and one can only infer, from the several scenes, that the neighbourhood is rough and littered with gangs and racial tension.
There is also a secondary story about the budding relationship between a video store clerk and a well-read waitress which is as sweet as it is subtle. It's interesting to note that their tastes in videos and books are pretty gritty as well.
?
zombola9 May 2008
Warning: Spoilers
I don't know where to start with this film. Pusher in my opinion is one of the greatest gangster films of all time, superbly shot with incredible performances, a fantastic storyline and most of all completely realistic. So it would suffice to say that Refn's second film should be just as good if not better, how can you top Pusher? Well the simple answer is you cant and Refn hasn't even tried. He's gone for the more subtle approach and seems to have worked backwards by creating this very slow arty piece.
What i think he has done is pay his respects to all of his favourite films without paying homage to any of them. I think he's tried to highlight peoples outlets.
We have Lenny the quiet video store clerk who watches 4 films a day all of which are graphically violent and thats it, his life is film, Im guessing this is a reference to a traits of Refn's own character but then we move on to how these things can affect you with Leo's character, he has no outlet, the guys meet up once a week for film night and don't talk, Leo doesn't really understand film and why things are the way that they, he is growing increasingly disappointed witn his life and decides to buy a gun, he doesn't even know why - he needs an outlet. Lea's character is very similar to Lennys except her medium are books, graphic books. There are some very nice shots of the video store and the book shop, a persons collection of fiction endlessly spanning into infinity.
Whilst watching i put the slow pace and intense snappy diologue down to character build up and that when we finally see the violent revenge it would make me care even more for the characters, this was not the case. leo wakes up in a factory and instead of Louis beaten him up or torturing him they decide to inject him with HIV+ blood, this is the only refernec i can see to the title 'Bleeder'. Yes its horrible and wrong but hardly a climax, there was no build up, no suspense, no impending doom and what a ridiculous way to exact revenge on someone, its hardly quick. Leo is obviously going to get his own back and he does... wow sigh.
So, the acting is good, the cinematography is great, the storyline is boring, the diologue is boring, the end is boring. You don't feel any different from beginning to end after watching it, so whats the point? because he could.
There is no explanation the only thing i can say is don't expect it to be anything like pusher.
What i think he has done is pay his respects to all of his favourite films without paying homage to any of them. I think he's tried to highlight peoples outlets.
We have Lenny the quiet video store clerk who watches 4 films a day all of which are graphically violent and thats it, his life is film, Im guessing this is a reference to a traits of Refn's own character but then we move on to how these things can affect you with Leo's character, he has no outlet, the guys meet up once a week for film night and don't talk, Leo doesn't really understand film and why things are the way that they, he is growing increasingly disappointed witn his life and decides to buy a gun, he doesn't even know why - he needs an outlet. Lea's character is very similar to Lennys except her medium are books, graphic books. There are some very nice shots of the video store and the book shop, a persons collection of fiction endlessly spanning into infinity.
Whilst watching i put the slow pace and intense snappy diologue down to character build up and that when we finally see the violent revenge it would make me care even more for the characters, this was not the case. leo wakes up in a factory and instead of Louis beaten him up or torturing him they decide to inject him with HIV+ blood, this is the only refernec i can see to the title 'Bleeder'. Yes its horrible and wrong but hardly a climax, there was no build up, no suspense, no impending doom and what a ridiculous way to exact revenge on someone, its hardly quick. Leo is obviously going to get his own back and he does... wow sigh.
So, the acting is good, the cinematography is great, the storyline is boring, the diologue is boring, the end is boring. You don't feel any different from beginning to end after watching it, so whats the point? because he could.
There is no explanation the only thing i can say is don't expect it to be anything like pusher.
Really powerful work
latinfineart14 November 2020
Warning: Spoilers
This film barely gives a hint that Mads Mikkelson would become one of the greatest actors of our generation. He plays a bit of a slacker, utterly obsessed with film, without a courageous bone in his body, but as the film evolves it becomes more of a study of his humanity, his inherent decency, and a study of his friends. The main couple in the film are fascinating to watch, she is so kind, and tender and accessible, and Leo is such a lout, and increasingly preoccupied, you can sense there's something in the air, you can sense this tension and frustration. That this mess of a human is about to do something atrocious.
Many of the characters are lonely and emotionally isolated. There is a very realistic quality to the sets, characters and story.
This film gives some evidence of what Refn was about to accomplish in his career. It has tremendous atmosphere, an excellent soundtrack, it's moody as hell, and it's is very well shot, with really powerful edits. An excellent film, it really packs a punch, for a tiny little film.
Many of the characters are lonely and emotionally isolated. There is a very realistic quality to the sets, characters and story.
This film gives some evidence of what Refn was about to accomplish in his career. It has tremendous atmosphere, an excellent soundtrack, it's moody as hell, and it's is very well shot, with really powerful edits. An excellent film, it really packs a punch, for a tiny little film.
Bleeding Boring
p-stepien3 December 2013
Nicolas Winding Refn has personally invariably proved to be a hit-and-miss director. As far as his imagination rarely falters, the overall concept ranges from drab to enticing, whilst the content takes a back-seat to style. Here Refn seems intent on borrowing from the best to bring about his own amalgamate. "Bleeder" starts off with a pacey intro reminiscent of Guy Ritchie type character introduction - here Refn introduces us by presenting the shoes of our protagonists strolling down the street - featuring pulsating techno music for the chaps and more romantic drivel for the women.
From then on setting is formed, which seems like a poor man's "The Clerks" - not a reference to money given Kevin Smith debut feature was a no-budget flick, but to the fact that "Bleeder" consists of fickle, impoverished diatribes about films, which take place in a labyrinth video rental, in which one of the character Lenny (Mads Mikkelsen) works. The senseless poorly drafted cinephile bickering thankfully doesn't survive the duration, slowly sifting into darker territory and focusing attention on key protagonist Leo (Kim Bodnia), who leads a worn existence, working at a dead-end job, now further distraught by the news that his wife Loiuse (Rikke Louise Andersson) is pregnant. When Leo starts falling into his self-made trap, he slowly starts exposing his anger outward, slowly but surely going raging Scorsese - buying a gun and beating on his wife. The most striking homage naturally directs us at Kubrick's "A Clockwork Orange".
Once this sequence starts dominating the picture, the subplot, which at one time seemed like equally relevant disappears, casting doubt into the whole plot construction. Refn seems to utilise the other characters as other examples of self-made traps. Whilst Leo is struggling with his invisible leash, where his manhood pride is striped and replaced with a domestic collar, his best mate Lenny remains engulfed by the world of film, unable even to reach out and entertain a relationship with Lea (Liv Corfixen), a waitress, who he quietly admires from afar. Interestingly Lenny, lost in his towering shelves of movies, seems the perfect fit for Lea, who conversely drops into boundless tomes of books. Neither Leo nor Lenny seem capable of escaping their prisons, instead bleeding away their lives - Leo doing so literally.
Refn reuses the same actors from the now cult classic "Pusher", mostly to good effect. However, he fails to offer the same well-strung narrative, instead delivering an poorly written talkative opening hour, that dissipates interest in the more dynamic - and somewhat shockingly out-of-place - denouement. Refn also wields his weapons heavy-handedly, first having us engage with the main character Leo, only to swiftly punch us in the bowels once he recoils back at his dreary reality. Not the first time it has been done, but the lazy start further alienates the viewers, therefore effectively waking someone up, not shocking the systems.
From a personal angle the issues of stolen masculinity, which were pushed to the forefront by the director, were ill-received ailings of a thankfully (hopefully?) bygone era.
From then on setting is formed, which seems like a poor man's "The Clerks" - not a reference to money given Kevin Smith debut feature was a no-budget flick, but to the fact that "Bleeder" consists of fickle, impoverished diatribes about films, which take place in a labyrinth video rental, in which one of the character Lenny (Mads Mikkelsen) works. The senseless poorly drafted cinephile bickering thankfully doesn't survive the duration, slowly sifting into darker territory and focusing attention on key protagonist Leo (Kim Bodnia), who leads a worn existence, working at a dead-end job, now further distraught by the news that his wife Loiuse (Rikke Louise Andersson) is pregnant. When Leo starts falling into his self-made trap, he slowly starts exposing his anger outward, slowly but surely going raging Scorsese - buying a gun and beating on his wife. The most striking homage naturally directs us at Kubrick's "A Clockwork Orange".
Once this sequence starts dominating the picture, the subplot, which at one time seemed like equally relevant disappears, casting doubt into the whole plot construction. Refn seems to utilise the other characters as other examples of self-made traps. Whilst Leo is struggling with his invisible leash, where his manhood pride is striped and replaced with a domestic collar, his best mate Lenny remains engulfed by the world of film, unable even to reach out and entertain a relationship with Lea (Liv Corfixen), a waitress, who he quietly admires from afar. Interestingly Lenny, lost in his towering shelves of movies, seems the perfect fit for Lea, who conversely drops into boundless tomes of books. Neither Leo nor Lenny seem capable of escaping their prisons, instead bleeding away their lives - Leo doing so literally.
Refn reuses the same actors from the now cult classic "Pusher", mostly to good effect. However, he fails to offer the same well-strung narrative, instead delivering an poorly written talkative opening hour, that dissipates interest in the more dynamic - and somewhat shockingly out-of-place - denouement. Refn also wields his weapons heavy-handedly, first having us engage with the main character Leo, only to swiftly punch us in the bowels once he recoils back at his dreary reality. Not the first time it has been done, but the lazy start further alienates the viewers, therefore effectively waking someone up, not shocking the systems.
From a personal angle the issues of stolen masculinity, which were pushed to the forefront by the director, were ill-received ailings of a thankfully (hopefully?) bygone era.
Magnificent film
Jack_Coen4 October 2011
Leo and Louise are a young couple living together in Copenhagen. Leo often goes out with his friends while Louise usually stays home. But when Louise tells Leo she's pregnant, a spark is ignited and Leo begins to become cold and distant. His anger and self-hatred finally erupt into violence against Louise (plot).
Nicolas Winding Refn, the genius behind many good films like "Pusher" and lately the best film in 2011 "Drive" write and direct fine film and present this in tow parts First in Leo character and his problem with his wife, Scend in Lenny character and how the filmgeek turn to a normal guy with girls.
The actors are brilliant all around, especially Mads Mikkelsen who does a fantastic performance as a filmgeek, with major problems when it comes to talking and being around girls. And Kim Bodnia gives a really introspective performance that proves his status as one of europe's if not the whole worlds best actors.
The film was great and worth watching, i love everything in this film the conversation between the characters was great especially when they talk about films, the bloody scene well made by the staff .. and the last few seconds when the light off in the restaurant Lenny & Lea staring each other!.
4/5
Nicolas Winding Refn, the genius behind many good films like "Pusher" and lately the best film in 2011 "Drive" write and direct fine film and present this in tow parts First in Leo character and his problem with his wife, Scend in Lenny character and how the filmgeek turn to a normal guy with girls.
The actors are brilliant all around, especially Mads Mikkelsen who does a fantastic performance as a filmgeek, with major problems when it comes to talking and being around girls. And Kim Bodnia gives a really introspective performance that proves his status as one of europe's if not the whole worlds best actors.
The film was great and worth watching, i love everything in this film the conversation between the characters was great especially when they talk about films, the bloody scene well made by the staff .. and the last few seconds when the light off in the restaurant Lenny & Lea staring each other!.
4/5
Like a Hemingway plot, much lurks under the waterline..Bleeder bites...
Rainfox9 August 1999
Bleeder is in all terms a masterpiece.
It bites. It bites the viewer throughout. Covering the lives of a group of young Danes it touches you adherently.
It`s raw and it`s alive.
Subtle yet violent, it gently and beautifully says a million things in single frames, single dialog, single sounds and visions.
Be warned; Bleeder is explosive and even gory in parts, but never unjustified. More importantly it is funny and warm and heartfelt - you`d be a lying fool if you can`t somewhat identify with some of the characters or some of the situations.
Or be moved by the sheer power and heartbeat of the director and the portrayels of frustration, trauma, loneliness, friendship, stupidity and love.
Well done.
And no ... this is NOT a "Pusher 2" ... this is something altogether better, richer and wiser.
It`s pure movie magic.
Here`s to Lenny and Leo, Lea and Louise.
It bites. It bites the viewer throughout. Covering the lives of a group of young Danes it touches you adherently.
It`s raw and it`s alive.
Subtle yet violent, it gently and beautifully says a million things in single frames, single dialog, single sounds and visions.
Be warned; Bleeder is explosive and even gory in parts, but never unjustified. More importantly it is funny and warm and heartfelt - you`d be a lying fool if you can`t somewhat identify with some of the characters or some of the situations.
Or be moved by the sheer power and heartbeat of the director and the portrayels of frustration, trauma, loneliness, friendship, stupidity and love.
Well done.
And no ... this is NOT a "Pusher 2" ... this is something altogether better, richer and wiser.
It`s pure movie magic.
Here`s to Lenny and Leo, Lea and Louise.
VOW
UbiStich7 August 1999
While I watched "Bleeder", I came to think of Paul Schrader's thesis, where he compared Bresson, Dreyer and Ozu. The reason was the humility of the characters. While Louis (Levino Jensen) is a volcano, and Leo (Kim Bodnia) is a Volcano to be - because of his feeling of entrapment by his girlfriends pregancy - they fight there inner feelings, they are hunted by them and suffer, they dismiss life itself for momentary outburts of violence. On the other side you have Lenny (Mads Mikkelsen) and Lea (Liv Corfixen), who are so alienated by an urban society, that they withdraw themselves into escapism - Lenny trough movies, Lea trough books. They dismiss life trough distance to themselves and others. That was why I thought of Bresson, Dreyer and Ozu.
When "Bleeder" began I said to the film: Impress my, kick me in the nuts; just like "Pusher" did. But no. Where "Pusher" was an assault, "Bleeder" is seductive, like a slow drink. In "Pusher" they talked constantly, in "Bleeder" the express them selves through attitude and thought. They only say what has to be said, they express the rest.
The storyline is simple, even though it is multilayered. Louise is having a baby, and Leo can't live with it. He finds he repulsive, and finds himself out of control with his surroundings. One night while visiting his cousins Louis nightclub, he witnesses a man getting shot, which becomes a catalyst for his downfall. His alienation towards Louise becomes hatred, and he beats he up, causing he to loose there child. When Louis hears of this he kills Leo; not quick, but slowly by injecting him with HIV-virus. When Leo realises what has happend; the loss of both Louise and his Child, plus his death, the takes control again; but in a way I won't tell.
There is also a lovestory between Lenny and Lea, two shy and private persons.
What does "Bleeder" a masterpiece is the acting. Mads alienated himself for 3 month by working in a videostore and living alone and watching movies. Liv worked in a diner for 2 month, and Kim gave himself so much, that he became Leo; after the filming stopped he commited himself to a hospital for psychiatric treatment. It is a new breed of actors, that give all they have to be the part they play, just like seen in the Dogmafilm "Festen".
I hope that it will gain a large international audience, since it deserves it. It is a masterpiece.
When "Bleeder" began I said to the film: Impress my, kick me in the nuts; just like "Pusher" did. But no. Where "Pusher" was an assault, "Bleeder" is seductive, like a slow drink. In "Pusher" they talked constantly, in "Bleeder" the express them selves through attitude and thought. They only say what has to be said, they express the rest.
The storyline is simple, even though it is multilayered. Louise is having a baby, and Leo can't live with it. He finds he repulsive, and finds himself out of control with his surroundings. One night while visiting his cousins Louis nightclub, he witnesses a man getting shot, which becomes a catalyst for his downfall. His alienation towards Louise becomes hatred, and he beats he up, causing he to loose there child. When Louis hears of this he kills Leo; not quick, but slowly by injecting him with HIV-virus. When Leo realises what has happend; the loss of both Louise and his Child, plus his death, the takes control again; but in a way I won't tell.
There is also a lovestory between Lenny and Lea, two shy and private persons.
What does "Bleeder" a masterpiece is the acting. Mads alienated himself for 3 month by working in a videostore and living alone and watching movies. Liv worked in a diner for 2 month, and Kim gave himself so much, that he became Leo; after the filming stopped he commited himself to a hospital for psychiatric treatment. It is a new breed of actors, that give all they have to be the part they play, just like seen in the Dogmafilm "Festen".
I hope that it will gain a large international audience, since it deserves it. It is a masterpiece.
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