Just as venture capital company Nova Distribution plans a profitable "exit" from successful IT company Cathaegis by selling off to a less ethical competitor, executive Thomas Skepphult (Mads Mikkelsen, CASINO ROYALE) becomes the prime suspect in the murder of his partner/mentor Wilhelm Rahmberg (Borje Ahlstedt, FANNY & ALEXANDER) who had just decided to retire and turn over the reigns to him. Especially incriminating - in the opinion of investigator Diana Malm (Ia Langhammer, MOTHER OF MINE) - is an old contract that specifies that if one partner dies, the other can buy his shares for two million kroner (the company's investments are worth ten billion now with the Cahtaegis), and Thomas' fingerprints are on the murder weapon, a crowbar possibly stolen from his own garage. Thomas, however, has been receiving calls from a man claiming to be Morgan Nordenstrale (Samuel Froler, EXECUTIVE PROTECTION), the man whose "unacceptable methods" acquired Cathaegis in the first place and blew his head off when the company fired him. When Nordenstrale threatens his family, Thomas goes on the run to protect them, relying on the help of dutiful assistant Fabian (Alexander Skarsgard, TRUE BLOOD) to track Nordenstrale since the police do not believe Thomas' claims. Like any cut-throat businessman, Thomas at first tries to use his contacts to help him prove his innocence - including relying upon the legal representation of a fierce rival (Johan Rabaeus, FAITHLESS) in exchange for a lucrative deal - but eventually needs to get his own hands dirty simply to survive.

What starts out as a sleek thriller about the cut-throat business world quickly devolves into the type of cat-and-mouse thriller that is higher on the chase than the shocking revelations. Mikkelsen going through the motions while his underwhelming blackmailer/tormentor slaps around lackeys and tries to look sinister (especially to himself as he glares into his shaving mirror), with occasional cutaways to the investigation by the usually thick detectives (the UK release also highlights the presence of Skarsgard, but he doesn't get much opportunity to express any range until the third act). It's all quite familiar with no real surprises - including the final reversal - other than putting the shoe on the other foot for a bit during the dark-house-stalk-and-chase-and-conflagration climax. The alternative rock end credits song goes against the tone of the rest of the soundtrack, but feels very much a part of the thriller template around which this story is structured.