For almost the first half of No Rest for the Wicked, the only thing marking it as a genre movie is its score, full of ominous electronic drones and sharp strings. The look, with foreboding aerial shots of the Faroe islands' craggy mountains and almost only natural lighting for night scenes, is also a hint; it just seems rude to think that non-genre films aren't capable of this level of literal darkness. Suffice to say that it looks and sounds like a genre film. But the content of its early scenes undercuts the sense of dread its aural and visual world conjures. Perhaps more than dread, the literal and metaphorical darkness are meant to clue us into how stuck protagonist Baldur (Egor Venned) feels on...
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