The Star Late Edition - - TONIGHT -

ASED on the sev­enth book in the Harry Hole se­ries by au­thor Nor­we­gian Jo Nesbø, The Snow­man is a solid film that sadly gets cold to­wards its very end.

Of­ten, when books are adapted to film they leave a lot to be de­sired. This film works be­cause it can stand on its own with­out re­ly­ing too much on the ap­peal of the books, which is a good thing: it must make sense as a co­her­ent whole, whether you’ve in­ter­acted with Nesbø’s work or not. But while for a large chunk of the run­ning time the film does just that, there are dots that just won’t con­nect.

At the heart of the film is a multi-lay­ered de­tec­tive Harry Hole (Michael Fass­ben­der) who is bril­liant in his de­tec­tive work but is a trou­bled man with an al­co­hol ad­dic­tion. Hole finds him­self rather un­wit­tingly in­ves­ti­gat­ing Michael Fass­ben­der as de­tec­tive Harry Hole in The Snow­man. a se­ries of mur­ders that boast an un­usual call­ing card: a snow­man with cof­fee beans at every crime scene.

The case is brought to Hole’s at­ten­tion by a new of­fi­cer in his de­part­ment, Ka­trine Bratt (Rebecca Fer­gu­son), who claims she has been trans­ferred from the miss­ing per­sons de­part­ment in Ber­gen. She seems star struck by Hole, to such an ex­tent that she men­tions im­me­di­ately that she stud­ied his cases at the academy.

Hole be­comes sus­pi­cious of Ka­trine when he re­alises that she has in her pos­ses­sion cold case dock­ets. And she is not au­tho­rised to have them. It later turns out that Ka­trine is ac­tu­ally on sus­pen­sion by the Ber­gen po­lice de­part­ment af­ter go­ing against the rules in an at­tempt to crack the case of Nor­way’s first ever se­rial killer, dubbed The Snow­man. A case that is rather close to home be­cause

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