Troll Hunter

Released: 2011

Directed By: Andre Ovredal

Starring: Otto Jespersen

Certificate: 15

Reviewed By: Darryl Griffiths

We’ve had our fair share of monster movies hoisted upon us over the years. King Kong.. Godzilla.. TROLLS!? Yes, you read that correctly. Some cinematic enthusiasts in Norway must have had enough of the beasty concoctions that Hollywood has provided the mainstream. So let me introduce Troll Hunter.. the most out there monster movie you will probably see for quite some time.

Its conventions are certainly rooted in modern day Hollywood however (so much for the hate!), clearly taking the Cloverfield and Blair Witch route with the film’s documentary style playing the ‘this footage is real, authentic and been edited for your viewing pleasure’ card. Queue consistent shaky cam! Shifting more towards the characters, we follow the exploits of three students in the form of Thomas (Glenn Erland Tosterud), Johanna (Johanna Morck), and Kalle (Tomas Alf Larsen). Originally they’re keeping tabs on a suspected bear poacher called Hans (Otto Jespersen), who is rather dandy behind the wheel of a Land Rover. But as you’ve probably already gathered.. his character is shrouded in further mystery.

We discover that through a ploy by the Norweigan Government, he is assigned to hunt such creatures who are a major threat to the human civilisation… especially Christians. As you’d expect with any monster movie, we get a grand backstory about the different types of troll there are which is to be expected as the troll is firmly based in Norway’s folklore.

There is no denying that technically for the limited budget it had, the film is sublime. The trolls are certainly convincing threats to our out of their depth heroes and it makes for some tense confrontations in various forests. The main element that helps set it apart, is its rather quirky humour. From the troll stench they apply, to the slapstick esque foreigners who deliver the bears for Hans, there’s variety for everyone in that regard.

The problem is with most films of this type, it wears thin in its latter stages where it should really soar. The finale is a tad of a copout in truth and the overuse of shaky cam ultimately diminshes the audience’s enjoyment. In addition, the film’s heavy reliance on mythology tends to tie itself in knots as the plotline progresses.

But all in all, it should be commended for its daring unconventional style, despite its flaws. Hopefully the American remake, confirmed by its director Andre Ovredal will work out the kinks and improve on the material.