Child 44 – Review

At the core of Daniel Espinosa’s affecting, unforgiving drama Child 44, are a series of savage child murders. Naturally, this makes for a rather sombre experience – but given the rich emotional crux of the narrative, what transpires is a film that fails to move nor compel the viewer, as investing in this title is nothing short of a struggle. With the intensity of this narrative and credentials of the cast and crew, it’s really quite remarkable that’s even possible in this instance.

Set in the Stalin era of the Soviet Union, Leo Demidov (Tom Hardy) is tasked with confronting traitorous spies, of which his own wife Raisa (Noomi Rapace) has been identified. Refusing to give her up, the idealistic, diligent officer becomes an enemy of the state, though while on the run he becomes embroiled in a series of brutal child murders, and he’s desperate to catch the killer. Needing the assistance of the law, they refuse to oblige, as crimes of this nature simply aren’t supposed to happen in this society, brushing them off as accidental deaths. But Demidov is determined to get to the bottom and uncover the truth.

Regrettably, however, we deviate carelessly down many tangents and various, conflicting storylines that take us away from the child murder narrative, and thus detract from our emotional investment in this tale. We have Demidov’s volatile rivalry with fellow officer Vasili (Joel Kinnaman) as well as the story consisting of the Gary Oldman’s General Mikhail Nesterov. We attempt to cover too much ground and lose any sight of simplicity. Instead of being a good old-fashioned whodunnit, it’s ends up becoming a whybother. What did does prove, however, in what an amazing, stellar cast has been assembled in this instance, which also features the likes of Vincent Cassel, Paddy Considine and Charles Dance. Confined to many supporting roles, the star of this picture is Hardy, who turns in a magnificent, and absorbing performance. He’s empathetic, sincere and yet authoritative – everything a leading man should be.

Regrettably, however, his turn is still not quite enough to carry this film, leaving a contrived, unrealistic piece that sadly follows on from Safe House, as yet another disappointing Hollywood endeavour for the Swedish filmmaker Espionsa. A real shame, especially given how brilliant a thriller he presented with Easy Money, which feels far removed from this underwhelming piece of cinema.