The recycling bin that is Hollywood’s development slate just added another perfectly good foreign film to its contents.
Apple Original Films has announced plans to remake “Headhunters,” the razor-sharp 2011 Norwegian thriller that helped launch director Morten Tyldum internationally and introduced many to Nikolaj Coster-Waldau before his “Game of Thrones” fame. Mark Wahlberg is attached to star and produce, with Bill Dubuque (writer of “The Accountant” and “The Judge”) handling screenplay duties.
For those who missed the original—which is streaming right now with subtitles that won’t kill you, I promise—”Headhunters” follows a corporate recruiter who finances his lavish lifestyle by moonlighting as an art thief. When he targets a former executive (played by Coster-Waldau in the original) who owns a rare painting, the headhunter finds himself trapped in an increasingly violent game of cat-and-mouse.
The original film was a critical darling that blended pitch-black comedy with genuine tension and featured a memorably desperate performance from Aksel Hennie in the lead role. It currently sits at 92% on Rotten Tomatoes and helped establish Tyldum’s career, leading to his Hollywood breakthrough with 2014’s “The Imitation Game,” which netted eight Oscar nominations.
No director is currently attached to the remake, and Apple hasn’t announced a production timeline or release date.
What’s particularly tiresome about this announcement is how predictable it feels. Hollywood studios continue to treat foreign-language films like rough drafts awaiting American polish rather than finished works deserving of promotion. The industry operates under the assumption that American audiences are allergic to subtitles—an assumption increasingly disproven by the success of “Parasite,” “RRR,” and various international shows on streaming platforms.
Wahlberg’s casting suggests a significant shift in tone from the original. Hennie played the protagonist as a deeply flawed, physically unimposing man whose primary skills were manipulation and survival instinct. Wahlberg brings an inherently different physical presence and star persona, likely transforming the character into a more conventional action hero. This kind of fundamental recalibration is typical of Hollywood remakes, which often sand down the rough edges that made the originals distinctive.
Dubuque’s involvement does offer some promise. His script for “The Accountant” demonstrated skill with morally ambiguous protagonists and twisty plotting—elements central to “Headhunters.” However, his Hollywood pedigree also suggests a more mainstream, audience-friendly approach than the gleefully misanthropic original.
This remake joins a long tradition of American versions of Scandinavian thrillers, including “The Girl with the Dragon Tattoo,” “Let Me In” (from “Let the Right One In”), and “The Departed” (adapted from Hong Kong’s “Infernal Affairs”). While some of these remakes have been excellent in their own right—Fincher’s “Dragon Tattoo” and Scorsese’s “The Departed” in particular—they perpetuate the industry’s reluctance to market foreign films directly to American audiences.
The irony here is that Tyldum himself quickly abandoned the distinctive style that made “Headhunters” compelling once he arrived in Hollywood. After “The Imitation Game” earned him an Oscar nomination, he directed “Passengers,” the critically panned sci-fi romance starring Jennifer Lawrence and Chris Pratt. He hasn’t directed a feature film since that 2016 misstep, though he’s worked in television.
Apple’s interest in remakes reflects its relatively cautious approach to original film production, despite its vast resources. The streamer has preferred established IP and star-driven vehicles over truly original concepts. This strategy has resulted in a library that includes impressive titles like “CODA” and “Killers of the Flower Moon,” but lacks the distinctive brand identity of competitors like A24 or even Netflix‘s film division.
Why Hollywood Can’t Quit the Remake Game
The Risk-Aversion Factor
Studios view pre-tested concepts as safer bets, especially when they can attach stars like Wahlberg who bring built-in audiences—even if it means sacrificing the original’s distinctive qualities.
The Subtitle Phobia Persists
Despite growing evidence that American audiences will watch subtitled content (especially on streaming), studios still operate under the assumption that English dialogue is non-negotiable for commercial success.
The Talent Pipeline
Remakes offer Hollywood a way to identify and import foreign directing and writing talent without taking chances on their original visions—Tyldum’s career trajectory from “Headhunters” to “The Imitation Game” to “Passengers” illustrates this pattern perfectly.
The Marketing Simplicity
Selling “Mark Wahlberg in a thriller” is easier than marketing “an acclaimed Norwegian film with that guy from Game of Thrones,” especially when theatrical marketing budgets demand immediate audience recognition.
The IP Hunger
In an entertainment landscape obsessed with pre-existing intellectual property, foreign films represent a relatively untapped reservoir of proven stories that can be acquired for a fraction of what American IP would cost.
FAQ
Why remake “Headhunters” when the original is still accessible?
Hollywood operates on the premise that American audiences won’t watch subtitled films in sufficient numbers, despite growing evidence to the contrary. The remake also allows for star packaging (Wahlberg) and cultural recalibration that studios believe make projects more commercially viable for English-speaking territories. It’s about risk mitigation, not artistic necessity.
How might Wahlberg’s casting change the character from the original film?
In the original, Aksel Hennie played a physically unimposing character whose desperation and intelligence were his primary tools for survival. Wahlberg brings an inherently different physical presence and action-hero credibility that will likely transform the character from an unlikely survivor into a more conventional protagonist. This fundamental shift often dilutes what made the original films distinctive.
What happened to director Morten Tyldum after “Headhunters”?
Tyldum parlayed “Headhunters” into a Hollywood career, directing “The Imitation Game” (2014) which earned eight Oscar nominations. His follow-up was the critically derided “Passengers” (2016) with Jennifer Lawrence and Chris Pratt. He hasn’t directed a feature film since, though he’s worked in television—a common pattern for foreign directors who find initial success in Hollywood but struggle to maintain momentum.
Are remakes of foreign films ever better than the originals?
Occasionally, yes. Martin Scorsese’s “The Departed” (remade from Hong Kong’s “Infernal Affairs”) and David Fincher‘s “The Girl with the Dragon Tattoo” are examples of remakes that stand as excellent films in their own right. However, they’re exceptions that prove the rule—most remakes dilute what made the originals special while rarely finding their own distinctive voice.
The predictable cycle continues: a foreign film builds enough international acclaim to catch Hollywood’s attention, only to be reprocessed into something more palatable for an American audience that’s perfectly capable of appreciating the original. Meanwhile, the international filmmakers who created these properties often find themselves stuck in Hollywood’s machine, directing work far less interesting than what brought them to the industry’s attention in the first place.
For those interested in seeing what Apple and Wahlberg are attempting to recreate, the original “Headhunters” remains widely available on streaming platforms. It’s a taut, darkly comic thriller with a distinctive Scandinavian sensibility that no remake—regardless of talent involved—is likely to capture. Whether this remake joins the rare ranks of successful adaptations or becomes another forgettable entry in Hollywood’s remake ledger remains to be seen.
Until then, maybe try reading some subtitles. I promise it won’t hurt.
