Here we go again. Apple Studios is developing an English-language remake of Headhunters, the 2011 Norwegian dark comedy thriller that premiered at Locarno and became one of the country’s highest-grossing local films of all time. Mark Wahlberg is attached to star and produce. Bill Dubuque—the guy behind The Accountant franchise and Ozark—is writing the screenplay. No director yet.
The original film, directed by Morten Tyldum (The Imitation Game), starred Aksel Hennie as Roger Brown, a corporate headhunter who maintains the illusion of wealth by secretly stealing valuable art. When he meets a potential CEO candidate named Clas Greve (Nikolaj Coster-Waldau) who owns a lost masterpiece, Brown plans a heist. Things go sideways fast, and suddenly he’s the one being hunted. It’s taut, darkly funny, and visually inventive. It earned nearly $20 million worldwide and became a cult favorite.
So naturally, Apple wants to remake it. Because why leave a perfectly good Norwegian thriller alone when you can slap Mark Wahlberg’s name on it and hope for the best?
The Original ‘Headhunters’ Works Because It’s Tightly Wound
Tyldum’s Headhunters is a masterclass in economical storytelling. It’s 100 minutes of escalating tension, propelled by Hennie’s wiry, desperate performance and Coster-Waldau’s menacing calm. The film doesn’t waste time. Every scene serves the plot or deepens the characters. The heist goes wrong. Brown improvises. The hunter becomes the hunted. It’s pulpy, kinetic, and self-aware enough to have fun with its own absurdity.
The tone is crucial. It’s dark comedy with genuine stakes—people die, often brutally, but the film maintains a gallows humor that keeps it from feeling oppressive. Hennie plays Brown not as a slick mastermind but as a vain, insecure man scrambling to stay ahead of his own mistakes. Coster-Waldau’s Greve is patient, methodical, and terrifyingly competent. The contrast drives the whole thing.
Can Wahlberg pull off that kind of desperate, undignified scrambling? Maybe. He’s played scrappy underdogs before (The Fighter, The Departed). But Brown isn’t a tough guy—he’s a narcissist who’s in over his head. That requires a different energy. Wahlberg’s persona is built on confidence, even when he’s playing flawed characters. Brown’s whole arc is about his confidence being shattered. That’s a trickier fit.
Bill Dubuque Can Write Tension—But Can He Preserve the Tone?
Dubuque’s credits are solid. The Accountant is a competent thriller. Ozark is a slow-burn crime drama with strong character work. He knows how to build tension and complicate moral choices. But Headhunters isn’t just a thriller—it’s a dark comedy. The original film leans into absurdity without losing its edge. Can Dubuque balance that? Or will this become a straight-faced Wahlberg vehicle that loses the original’s playful bite?
That’s the risk with English-language remakes. They often sand down the rough edges, making everything palatable for a broader audience. The Norwegian Headhunters has moments that are genuinely uncomfortable—visceral, gross, darkly funny in a way that doesn’t always translate smoothly into Hollywood convention. If the remake plays it safe, it’ll lose what made the original distinctive.
Apple’s Remake Strategy: Hit or Miss
Apple Studios has been aggressive about building its film slate, often through remakes and franchise plays. Wahlberg’s already got The Family Plan 2 in the works there, set to drop in two weeks. Earlier this week, news broke that Apple is also remaking That Man From Rio, the 1964 French adventure comedy, with Sydney Sweeney and Fast & Furious director Justin Lin.
The strategy is clear: take proven properties, attach big stars, and hope for streaming dominance. Sometimes it works. Apple’s F1, directed by Joseph Kosinski and starring Brad Pitt, just crossed $630 million worldwide and is the highest-grossing original Hollywood release of 2025. It drops on Apple TV+ on December 12. That’s a genuine success.
But F1 wasn’t a remake. It was an original spectacle built around a real-world sport with built-in audience interest. Headhunters is a different beast—a tight, character-driven thriller that doesn’t need an English-language upgrade. The original is accessible. It’s on streaming. Subtitles exist. Why remake it instead of just promoting the hell out of the original?
The Remake Fatigue Problem
This is part of a larger pattern. Hollywood—and now the streamers—are in full remake mode. Apple’s doing it. Amazon’s doing it (see: Thunderbolt and Lightfoot). Netflix has been doing it for years. And the question remains: why?
The answer is risk aversion. A remake comes with name recognition. It’s easier to pitch to executives, easier to market, and theoretically easier to greenlight. But audiences are starting to notice. The backlash against unnecessary remakes is real. And Headhunters feels like a textbook case of “this didn’t need to happen.”
The original film earned nearly $20 million on a modest budget. It’s beloved. It works. And it’s not like Tyldum’s version is inaccessible—it’s on major platforms, it’s well-reviewed, and it’s visually slick enough to appeal to mainstream audiences. So what’s the pitch here? “Now with Mark Wahlberg”? That’s not a compelling creative argument.
What Happens Next
Apple will move forward. Wahlberg will bring his star power. Dubuque will write a script that’s probably competent. A director will eventually attach. The film will get made, it’ll land on Apple TV+, and people will watch it because Wahlberg’s name is on it.
Maybe it’ll surprise us. Maybe Dubuque will nail the tone, Wahlberg will lean into the character’s vulnerability, and the remake will justify its existence. But more likely, it’ll be a perfectly fine thriller that makes you wish you’d just rewatched the original instead.
And that’s the problem. The original Headhunters is right there. It’s available. It’s great. And instead of championing it, Apple’s remaking it. Because apparently, originality—and respecting the originals—is still too much to ask.
What You Need to Know About Apple’s ‘Headhunters’ Remake
Mark Wahlberg Is Starring and Producing
Wahlberg reunites with Apple Studios after The Family Plan, bringing his star power to the English-language adaptation of Jo Nesbo’s novel.
The Original Is a Norwegian Cult Classic
Morten Tyldum’s 2011 film earned nearly $20 million worldwide, making it one of Norway’s highest-grossing local hits—and it’s still widely accessible on streaming.
Bill Dubuque Is Writing the Screenplay
The Ozark and Accountant writer brings experience in tense, character-driven thrillers—but the challenge is preserving the original’s dark comedy tone.
No Director Attached Yet
The project is still in early development, with no confirmed director, which leaves the tone and visual approach uncertain.
Apple’s Banking on Wahlberg’s Track Record
With The Family Plan 2 dropping soon and F1 crossing $630 million worldwide, Apple is betting on Wahlberg’s ability to draw audiences—even to a remake that arguably didn’t need to happen.
FAQ
Does ‘Headhunters’ need a remake?
Not really. The Norwegian original is accessible, critically acclaimed, and still holds up. An English-language version doesn’t add much beyond star power and broader marketing reach.
Can Mark Wahlberg pull off a desperate, undignified character?
Maybe. Wahlberg’s persona is built on confidence, even in flawed roles. Roger Brown requires vulnerability and scrambling desperation—qualities that don’t always align with Wahlberg’s usual energy.
Will the remake preserve the original’s dark comedy tone?
That’s the big question. Bill Dubuque knows how to write tension, but the original’s gallows humor and absurdity are tricky to translate without sanding down the edges for mainstream appeal.
