Helllins It is both painfully honest and laugh-out-loud funny at the same time.

Gary The movie's not perfect, but it sticks the landing of its message. It was engaging - thrilling at times - and I personally thought it was a great time.

Marva It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

Allissa .Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

johntheholder I am into indie films as mainstream ones.Don't get me too wrong.That said , Klopka surely is in indie low budget picture. Mind the " picture " though ... And here lies a question ? Does the quality of the practical , literal picture , frame by frame / photography matter? Does it affect the overall impression and judgement of whether a film is good or bad? For example if one takes a certain story , a particular script , will the film be better if you put in a good cinematography , and worse if you put in a -not so good- cinematography. In my humble opinion , it certainly does. After all , lets all say it once more .. IT IS A VISUAL EXPERIENCE.And so goes down the drain Klopka... Each scene is filmed with a camera. I can say that much. About lighting , scene decoration , vibrant , intense colors and such , there are none. They did shoot the film , you can watch it. Its just that throughout the whole thing , you are thinking its your buddy filming with his home-camera. And it doesn't add the realistic vibe. Its just bad lights , bad photography , nothing to do with realism.So thats one. Two , even if this film had great mainstream photography like a Nolan's film or an Alfonso Cuaron's one , the story isn't good itself.Like i mentioned , its Denzel Washington's "John Q" (2002) that is 5 years earlier ... its the same story , just with a worse photography , and switch the famous actors for unknown Serbian ones. It doesn't offer new insight in the topic. Desperate father has a sick son with a defective heart - goes bad to get the money for the operation.It has some weak improbable points too. This section contains SPOILERS! ----------------------------------------------------For example after confessing the murder to the police , they let him go , showing that the mafia guy has the police boss on his side. Well combining this fact, and then having the mafia guy being broke and owing money with his house almost in ruins ... i wonder , how the hell does he still have the police on his side? -----------------------------------------------------End of SPOILERS!I read good comments over here , and someone did a comparison of this film to the German " The lives of others" . So me , having firm respect for the lives of others , was convinced to see this with an open mind but slightly high expectations , because believe it or not , i am into foreign gems , Korean cinema , french , Italian , Belgian whatever...Well i saw this thing and this is the review. Nothing special , i give it a 5/10 because of the bad photography and strongly because its a story that was made better in a film five years earlier.To be fair , the actors were alright. Nothing great , but nothing bad. It was decent acting.

[email protected] You must see this film. Utterly and totally amazing. A perfect film, matched only by Body Heat and Fargo for its merciless exploration of the phenomena of criminality. The plot is so tight you can't put a razor blade between its uncemented blocks. The protagonist is trapped on the horns of terrible a dilemma, and does the only thing he can do in the situation. His choice is utterly believable and utterly horrifying. The consequences equally so. The ending is as inevitable as it is appropriate and yet I wish it weren't. But, like everything else in this film, it is as it must be. But the worst thing of all is that it could happen to any one of the tens of millions of equally vulnerable citizens of the great Uninsured States of America just as easily as in a Second World backwater like Serbia. Now that's really horrifying!

Chad Shiira The woman had never bothered to introduce herself. Late in "Klopka", Mladen(Nebojsa Glogovac) learns from his wife that the unconscious woman whose life he saved by rushing her to the emergency room, gave the name Jelena(Anica Dobra) over the phone. This anonymity comes as a shock to the viewer since the recently widowed mother of a young girl seemingly conveyed an impression of friendliness towards Mladen, just like the day they first met outside their children's school. In retrospect, though, after learning exactly how disparate the two families are class-wise in the newly democratized Serbia, Jelena's niceness gains an opaqueness, an edge. After Nemanja misreads Isidora's instigation of a snowball fight as a friendly overture, he offers the girl his gloves to alleviate the coldness in her hands. When she snatches them away, Jelena explains the girl's bratty behavior as a symptom of her husband overindulging their child. For good measure, once their ride arrives, Isidora throws the gloves on the ground, then throws a snowball in the boy's face. Nemanja looks hurt and confused; he's slackjawed, as the snow clings to his face, humiliated by the girl's lack of grace. Through all of this, Jelena never corrects her daughter's insolent boorishness. Needless to say, the husband doesn't drive a Renault. Men like Jelena's husband stopped driving inferior cars after privatization became Serbian law in 2001, setting up a situation of class warfare that "Klopka" dramatizes with great complexity, almost as an afterthought.Due to rising medical costs, Mladen finds himself in the absurd position of accepting a contract killing job, when a man named Kosta(Miki Manojilovic) responds to the newspaper ad for Nemanja's condition which Marija(Natasa Ninkovic) placed over her husband's steady protestations. The target, in a "Crash"-like coincidence, turns out to be Jelena's husband. More than a contract killer, the father acts as his son's vigilante, in which Ivkovich's assassination outside his home bears an unmistakable subtext of working class retribution against the elitist mindset of the nouveau rich that had given Isidora the agency to treat Mladen's son like a nothing without apology. This subtext of vigilantism becomes more readily apparent in later scenes where both husband and wife vent their frustrations against the new Serbia, where a picture frame, Marija learns, is worth more than a child's life. Clearly, "Klonka" implicitly endorses a return to socialism, as the film itself is a rally cry against the consumer culture of a democratic government which values things over people. Clearly, the parents are suffering from culture shock. The disdainful manner in which Ivkovich(Dejan Cukic) approaches Mladen becomes the film's main motif. Although Mladen aims a gun at Ivkovich's chest, the proletarian man isn't taken seriously(just like the cops who don't believe his confession, nor Kosta who asks for a cup of coffee at gunpoint). "I'm gonna kick your a**," are Ivkovich's last words before he's riddled with bullets.The snowball that Isidora had thrown at Nemanja just keeps getting bigger(there's no doubt that the snowball is a metaphor for Serbia's growing pains with the newly-installed democratic government). In the film's most intriguing scene, what are we to make of Mladen's expression after Jelena tells him, "That money isn't much for me, and it would solve everything for you," when she offers to pay for Nemanja's operation. Does he pick up on her condescending tone, even though he's still racked with guilt? Does he equate Jelena with the rich clubhopper, whose car window he smashes in with a rock? While the snowball is the inevitable cause of Mladen's death, the child redeems herself during a pointed scene at the hospital, in which the egalitarian ways of socialism makes a brief comeback, when the bourgeoisie girl shares her earphone with the proletarian man, as they sit side-by-side in the hospital waiting room. That small gesture is the heart of "Klopka", in a film that quietly endorses anarchy.

Lundegaard-1 While you watching "Klopka", a deep dramatic will tear you up from the inside out – and people need that punch that lift them up from their TV-chairs. The appeals of corruption and fast money are polluting the character of an already by war afflicted city and it is not missing much that you just feel the heartbeat of the main character Mladen in you own chest while watching him running against a wall. So many victims are shown in that excellent movie and all of them have the same roots. The comment that presume "this movie you can compare with other American movies" is wrong: there is talking an intensity of burned country through that picture, that you'll never find in an US-movie; will say that there must be a sort of pain engraved in land and country to tell such a story, so of course you better have not to tell such a story!