if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

All that we are seeing on the screen is happening with real people, real action sequences in the background, forcing the eye to watch as if we were there.

Unshakable, witty and deeply felt, the film will be paying emotional dividends for a long, long time.

There are moments in this movie where the great movie it could've been peek out... They're fleeting, here, but they're worth savoring, and they happen often enough to make it worth your while.

The Prison Industrial Complex is a worldwide phenomenon that seems to have been with us just about Forever; and Hollywood (among many others) has milked the idea for just about all it's worth; hence, the all-too-familiar chain of events depicted in THE KING OF DEVIL'S ISLAND. The names and the faces may be new to us, but the transgressions are as old as the Institution(s). But that doesn't mean that THE KING OF DEVIL'S ISLAND is just another run-of-the-mill prison movie; it's not: it's an exceptionally well-crafted look at what happens to two young inmates- Erling and Olav- and those with whom they come into contact. That it's "based on a true story" makes it even more compelling. It's too bad that more movies of this caliber aren't produced: THE KING OF DEVIL'S ISLAND reaffirms one's faith in the possibilities of solid filmmaking.

Good Norwegian drama, but could have been great. Good plot, well developed. The set up and build up to the inevitable climax was great, and set the scene for a fantastic conclusion. Character development is also good.However, the final scenes isn't as satisfactory as the build up. There are a few scenes and events which just don't gel, and which make the last quarter or so of the movie feel a bit contrived. Credibility is restored somewhat by the moving ending, however.Good performances all round. The only known actor (to us non-Norwegians, at least) in the cast is Stellan Skarsgard, who seems to appear in every Scandinavian movie. He is excellent, as always, as the governor of the prison.

Heart rendering true story about an uprising at a notorious correctional facility for juveniles on a Norwegian island. When a new prisoner arrives Erling (Ben Helstand), his unrelenting passion to escape, prevail against repression, and rebel against authority figures immediately puts him in hot water. The young men in this facility must endure horrendous conditions, as well as physical and mental abuse daily. Eriling's unflinching bravery eventually and collectively inspires and galvanizes these young men together in their life altering uprising against oppression. At first, the young men are unnamed (assigned numbers), completely alone, and without much hope for the future. However, Eriling's tenacious spirit leads to uniting broken spirits, establishing relationships, and not to be afraid to follow your dreams. The cinematography and barren landscape perfectly captures and enhances the cold- hearted spirit of the corrections facility, and the people who run it. The metaphor that is used throughout the film, and the evolving story of the "harpooner" is just perfect. Never falls victim to cheap melodrama; inspirational and touching. Impressive achievement by director Marius Hoist. Both performances by Stellan Skarsgard and Benjamin Heistad are simply marvelous.

Very strong drama with also very believable acting, taking place on a prison island, from which no one ever has escaped. The strong discipline, the pecking order between inmates, harsh punishments when violating the rules, the religious beliefs of the governor, it is all there to support the main theme.The newcomer takes the lead in the story very quickly, thereby guided with fantasies a la Moby Dick (Melville), about a whale that struggles nearly a day in spite of three harpoons. He has not learned to read or write, but finds a fellow inmate to take notes. Throughout the film we return to this theme several times. The way he describes the struggling whale, works like a metaphor and is very compelling.Near the end I expected a destructive finale like in IF (1968, by Lindsay Anderson), but this time they found something different to wrap up the story, more in line with a Greek tragedy. Very well done. Do not expect a happy ending, as you won't get any. The final music, however, allowed me to leave the theater with a positive feeling, regardless of the foregoing nearly 2 hours without any happy events.