Magnolia Pictures | Release Date: August 18, 2006
7.5
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Nesbitt10Nov 9, 2014
After Refn made an unsuccessful English-language debut with 2003's "Fear X," he returned to Denmark to shoot parts two and three of "The Pusher Trilogy." But the new films aren't a continuation, and the layoff didn't dull Refn's ability toAfter Refn made an unsuccessful English-language debut with 2003's "Fear X," he returned to Denmark to shoot parts two and three of "The Pusher Trilogy." But the new films aren't a continuation, and the layoff didn't dull Refn's ability to tell an engaging crime story. In "Pusher 2: With Blood On My Hands," the film explores a drug-dealer’s former sidekick as he deals with new challenges in the world of crime, drugs, and becoming a father.

Frank's ex-sidekick from the first film, Tonny, wonderfully played by Mads Mikkelsen is fresh out of prison. Tonny is eager to prove his worth as earner and son to his crime boss father (Leif Sylvester Petersen), known as the Duke. Routinely called a loser by everyone he knows -- he practically invites abuse by sporting a tattooed "respect" on the back of his bald head. Tonny also tries to ingratiate himself with his recalcitrant father (Leif Sylvester Petersen), who can hardly trust him with anything. The back-breaking straw is the appearance of a baby that Tonny's old non-girlfriend (Anne Sorensen) claims is his. The bitterness and betrayal mounts as Tonny begins to wonder if he should rewrite his life, and the fate of the neglected infant.

At its core, the film about is about broken families and serves as a stark reminder of the lasting effects on our actions can have on future generations. Tonny's entire life has been spent on only one thing: trying to gain the approval of his father. And not only that he learns on his release that he is very likely the father of a baby boy, one so neglected by his junkie mother that he hasn't even been given a name yet. Refn is painting a bleak picture of a child without a chance. He is in complete control behind the camera, but this film belongs purely and simply to Mikkelsen. He is absolutely stunning, flawlessly embodying the insecurities and desire that drives Tonny. Against all odds, Tonny becomes a sympathetic hero in an increasingly tragic tale. It's not hard to spot the need that drives his self-destructive behaviour: it's practically written all over his face - or at least the back of his head.
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