![]() ![]() The meat of the story is Fassbender and his hunt for the Snowman, a serial killer who leaves an actual snowman at the site of his crimes – again, a tricky business, because making snowmen is a time-consuming affair and there is every chance that someone will remember a grown man constructing one of these. ![]() Screenwriters Peter Straughan and Hossein Amini have adapted Jo Nesbø’s bestselling 2007 crime novel, and the director is Tomas Alfredson, who with production designer Maria Djurkovic creates that familiar, shopworn, down-at-heel and often shabby world recognisable from his earlier movies such as Tinker Tailor Soldier Spy (2011) and his modern vampire classic, Let the Right One In (2008), though here it is always refreshed and made new by the ever-present sparkling snow. He is grizzled, alcoholic, rulebook-shredding. The officer himself has the borderline ridiculous name of Harry Hole. Fassbender is playing a serial-killer-catching cop in a chilly Scandi procedural, on the trail of a murderer calling himself the Snowman. In fact, the film he’s in ironically sports with precisely these images of childhood innocence. O f course it is a letdown to discover that Michael Fassbender is not actually playing the lead in Raymond Briggs’s The Snowman and that he is not, in the words of the song, walking in the air, wearing a white costume and carrot nose, his feet softly pedalling in the magically Christmassy night sky, and his calloused hand in that of a child. ![]()
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