Review: ‘The 100-Year-Old Man’ has more fun than his younger counterparts (Includes first-hand account)

When many people think of getting older, they equate it with life slowing down. Days of spontaneous escapades fade away, becoming nothing but memories shared with those who will listen. There have been a number of centenarians in the news recently, celebrating their 100-plus birthdays and divulging the secrets to long life. But none of them appear ready to go on a global adventure at a moment’s notice. However, The 100-Year-Old Man Who Climbed Out the Window and Disappeared isn’t your average senior.

After executing an act of revenge involving explosives, Allan Karlsson (Robert Gustafsson) finds himself in a nursing home on the day of his 100th birthday. Refusing to suffer the indignity of losing his cherished freedom, Allan escapes out the window and heads to the nearest bus station. In a life filled with incredible coincidences and unbelievable circumstances, he suddenly finds himself in the middle of nowhere with a suitcase packed with $50 million. The misunderstanding results in a group of new friends who help Allan evade the biker gang determined to recover their money through a series of fantastic mishaps.

This movie is similar to Forrest Gump, but with far more of comedic flair. Throughout Allan’s venture, he recalls moments in his life that coincide with significant events in history, including a major contribution to the Manhattan Project, getting drunk with Harry S. Truman, being thrown in a Russian gulag and inadvertently causing the demise of Joseph Stalin. In spite of how far-fetched these tales are, they’re all very amusing and add ample colour to an already entertaining story.

Gustafsson spent hours in make-up, sometimes beginning application at 2 a.m., to double his age. And although it’s not as undetectable as Johnny Knoxville’s prosthetics in Bad Grandpa, it’s still relatively convincing. Allan is not the stereotypical curmudgeonly old man depicted in most movies. He’s rather kind and matter-of-fact, taking life’s surprises in stride as a man with decades of experience of things working out would be ought to do. The irony is that they do just that in the most absurd manner possible in most cases.

Nordic comedies are somewhat dark generally, but always funny. With bodies piling up due to accidental deaths and the constant need to transport an elephant while running for their lives, humour is almost more difficult to avoid than integrate. But that’s this film’s charm – it’s not trying to be amusing, it simply is.

Director: Felix Herngren
Starring: Robert Gustafsson, Iwar Wiklander and David Wiberg

Similar Posts

  • Review: TIFF 2015: ‘The Mind’s Eye’ is a throwback made with love (Includes interview and first-hand account)

    In fiction and non-fiction narratives alike, people have typically had one of two reactions to those that are different: ostracization and eradication, or envy and appropriation. While the former response can be seen through history, the latter is more often associated with science fiction and fantasy tales in which diversity comes in the form of superhuman abilities. In many cases, fear is connected to one’s incapacity to match their counterpart’s power. Thus, creating an equal playing field is the only means of salvaging peace. In The Mind’s Eye, one doctor’s efforts focus on people with telekinesis.

  • Out Standing review: TIFF 2025

    ‘Out Standing’ follows the real-life trials of Canada’s first woman infantry member, highlighting the sexism she experienced at every step.

  • Review: ‘The Conjuring 2’ is a master class in horror filmmaking (Includes first-hand account)

    The supernatural has always been a rich source of inspiration for horror movies. Regardless of whether it’s based on real, recorded accounts or if audiences believe in its existence, there is an inescapable creep factor related to an unknown plane of existence that can interact with our own; even more disturbing is the idea that many of these entities mean to inflict harm. There are enough exorcism and haunting pictures to comprise their own subgenre, but the best demonstrate a particular talent for portraying evil. The Conjuring 2 is an example of such skill.

  • Review: ‘Arrival’ is the sincerest type of science fiction (Includes first-hand account)

    As NASA regularly announces the discovery of distant planets with life sustaining environments, it’s easy to wonder what an encounter with alien life may look like. In addition to the aliens’ possibly strange appearance, how would we communicate with them? Would they come in peace? How would they arrive? Originally the answers to these questions were envisioned in science fiction books, then they moved to films. Without knowing anything about what may be out there, the possibilities of an encounter are infinite. Arrival is the latest picture to imagine what could happen if Earth received visitors from outer space.

  • Review: ‘Room’ begins where most stories about captivity end (Includes first-hand account)

    A large proportion of Lifetime TV movies focus on the survivors of horrific crimes, creating melodramatic depictions of the offense and its consequences. As terrible as these incidents are, the formula used to portray their stories is predictable and calculating to affect viewers’ emotions in certain ways at specific parts of the narrative. But that doesn’t mean these tales are immune to ingenuity; it just hasn’t been applied as often. Room approaches a story that has become far too common in the news from a fresh perspective that truly captures the intense effects of being held against one’s will.