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A thriller of intrigue and self-delusion in contemporary Sweden. JW (The Killing's Joel Kinnaman) is a handsome, suave grad student at Stockholm's business school. He's a much-prized guest at weekend parties at palatial family estates where clever repartee holds sway over candlelit dinners. But there's another JW who's busy sewing expensive buttons onto cheap shirts while working nights as a cabbie and selling term papers to make ends meet. When a beautiful young woman from on high is smitten with him, the stakes grow ever higher. JW falls in with an international array of drug-dealing thugs who promise easy money for some solid financial advice about laundering the big bucks they plan to make from a cocaine deal. JW may be a shallow cad, but he's an amateur in the double- and triple-crossing world of Serbian mafiosos and Swedish bankers who provide a post-graduate education he'll never forget.




“A depth rarely found in gangster films… The screenplay, by Maria Karlsson — written in collaboration with Mr. Espinosa, Fredrik Wikstrom and Hassan Loo Sattarvandi — humanizes these criminals, and your feelings about them change as the story proceeds… Builds to a whopping finale that, without seeming to preach, bears out Mr. Espinosa’s statement: ‘Gangster films should always be moral stories.’”
– Stephen Holden, The New York Times
Click here to read the full review.

“GRADE A. Joel Kinnaman has gone from rising (THE KILLING) to rocketing star (the lead in the upcoming RoboCop remake). The movie that first planted him on the map in Sweden in 2010 is finally being released here. But EASY MONEY is not merely an early-career curiosity. It’s one of the best underworld films I’ve seen in years and Kinnaman gives a fantastic performance.  EASY MONEY is full of arresting cutthroats.”
– Owen Gleiberman, Entertainment Weekly

“Impressive! JW is played brilliantly by Joel Kinnaman. The director, Mr. Espinosa, handles the social climbing and the multicultural criminality with great aplomb and relentless energy.”
– Joe Morgenstern, Wall Street Journal

“Dazzling!  May well be the crime film of the year, or the decade. It features a star-making performance from the supremely handsome and immensely talented Swedish actor Joel Kinnaman. (A) gripping, almost operatic rise-and-fall saga…captured in convincing and intimate detail. Elegantly structured. The cinematography is often exhilarating. Quite a few moments of surprising emotional power, not customarily found in this genre.”
– Andrew O’Hehir, Salon

“Savor the tang of this top-drawer Scandinavian thriller. (A) splendid crime story. EASY MONEY succeeds because of Espinosa’s impressive filmmaking skills; he’s a master at the mechanics of motion-picture action, and he’s got a facility for building tension and keeping viewers off balance… (and) an eye for small details, as well as a gift for psychological complexity.”
– Kenneth Turan, NPR

“As the general run of action films blithely defies the laws of gravity and consequence, what a pleasure to find a movie as grounded, physically and emotionally, as… EASY MONEY.”
– Nick Pinkerton, Village Voice

“It's obvious from EASY MONEY why Espinosa would be going places. So long as he takes Kinnaman with him, the gentleman can have our hard-earned cash… For those who only know him from the show (AMC’s The Killing), Kinnaman’s wary-eyed turn in this Stockholm-set potboiler will take you aback; once again, he’s the best reason to tune in.”
– David Fear, Time Out New York

“(A) thoroughly engaging saga of corruption.  Retains its suave composure right through the engrossing finale.”
– Eric Kohn, Indiewire

EASY MONEY pretty much had me at ‘Joel Kinnaman.’ And he doesn’t disappoint: as a social-climbing student mixed up in a mob scheme, Kinnaman is transfixing. But this tense, gritty, often heartbreaking underworld drama is much more than just a showcase for the actor’s talents… EASY MONEY’s big heist scene is the only action set piece so far this year that was so suspenseful I could feel my heartbeat in my ears… Genre films this smart and character-driven don’t come along often on either side of the Atlantic.”
– Dana Stevens, Slate