In 2008, a band of European criminals executed what would become Denmark’s most lucrative heist (“The Copenhagen Job,” as per Atavist Magazine). Frederik Louis Hviid‘s The Quiet Ones recounts the event as a steely thriller, from blueprint planning stages to eventual incarceration. Anders Frithiof August‘s screenplay contemplates the group’s motivations, financial hardships, and operational challenges concerning comparable smash-and-grab flicks, which begs the question of autobiography versus entertainment. Neither approach is incorrect, yet Hviid’s gritty recreation gets stuck in auto-entertainment limbo. The Quiet Ones checks its genre boxes, close calls and all, but cannot sustain the surveillance tension and adrenaline rushes accompanying top-tier robbery classics.
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