Dossier K is a Belgium action film that revolves around two detective partners, the more straight laced Eric Vincke (played by Koen De Bouw) and the scruffy Freddy Verstuyft (Werner De Smedt). It’s a sequel (or another entry in a franchise depending on how Hollywood you want to get about it) to Memories of a Killer, another book in a series of novels by Jef Geeraerts; but as you can tell from the description above, it’s pretty much in the mold of most television series about people who solve crimes. The movie has some interesting subject matter, the rise of immigrant Albanians in organized crime and the idea of honor they have brought with them from the old country, an idea that has been codified into a series of books (so many that it gets a laugh and one does wonder how anybody can remember it all). However, Vincke’s main problem isn’t with the Albanians. From the way the screenplay (by Carl Joos and Erik Van Looy; direction by Jan Verheyen) is written, that’s nothing compared with the problems he has with the head of the city’s organized crime unit, one Major De Keyser, who is about to bring down a major crime family and doesn’t want Vincke to interfere. The indication is that Vincke is supposed to be the good guy, the moral cop, the one we’re supposed to cheer on. But his interactions with the De Keyser never really seem to be about the best way to fight crime; their conflicts are more on the level of a pissing contest or two schoolyard bullies trying to prove that each has the bigger dick. De Keyser heads a major bust that brings down the head of a major family and most of his lieutenants, but Vincke can’t bring himself to allow that De Keyser did something pretty amazing. No, Vincke ends up blaming De Keyser for the death of one of Vincke’s team (a woman Vincke was interested in romantically, though this subplot felt a bit squeezed in and never caught root emotionally) when De Keyser had absolutely nothing to do with it (it was a matter of being in the wrong place at the wrong time, something that no one can really do anything about). When Vincke accuses his boss of doing bad by playing two crime families against the other, we’re supposed to react in horror because people who worked for the families got caught in the cross fire. I thought it was a pretty good stratagem myself. Maybe if Vincke had an alternative method for cracking down on crime, that might lend his holier than thou attitude some credence; but while De Keyser stops a major cartel, Vincke has trouble solving one crime. Because of this, the most interesting aspect of the story revolves around Nazim, a young man who comes to Antwerp to revenge the death of his father, a police informant who was killed after De Keyser no longer had any use for him. While Vinke’s journey is a rather routine one we can see on just about any TV police procedural, Nazim’s journey is the more riveting one of someone who realizes that a person he revered and who was supposed to be playing by the code of honor Nazim has been taught to play by, has betrayed everything Nazim and his people stand for. This leads to an engrossing performance by the corpulent R. Kan Albay playing a character who oozes corruption. When Nazim takes him down, the scene recalls the end of the Orson Welles’ character in Touch of Evil. While most of the movie seems to be about children arguing in a sandbox, this half of the movie is what gives the movie any weight it has.