the best Verhoeven film since Basic Instinct -- if only that were a bigger compliment.
Black Book (2007)
Tomatometer
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Reviews Counted:142
Fresh:107
Rotten:35
Average Rating:7/10
Consensus: A furious mix of sex, violence, and moral relativism, Black Book is shamelessly entertaining melodrama.
Runtime: 2 hrs 26 mins
Genre: Foreign Films
US Box Office: $4,339,526
Synopsis: Dutch filmmaker Paul Verhoeven made his name in Hollywood with films such as ROBOCOP, BASIC INSTINCT, and STARSHIP TROOPERS. But Verhoeven got his start in the industry by making films (the... Dutch filmmaker Paul Verhoeven made his name in Hollywood with films such as ROBOCOP, BASIC INSTINCT, and STARSHIP TROOPERS. But Verhoeven got his start in the industry by making films (the acclaimed SPETTERS and SOLDIER OF ORANGE among them) in his native country, and it's to Holland that he returns for BLACK BOOK--his first Dutch film in 20 years. The story is set during the final days of World War II in Holland, and follows a Jewish singer named Rachel Stein (Carice Van Houten). Rachel attempts to avoid the Nazis and remains in quiet hiding until her family is brutally slain, causing her to join up with a resistance movement. On a subsequent undercover mission, Rachel crosses paths with a smitten German general named Ludwig Muntze (Sebastian Koch), with whom Rachel begins a relationship in order to feed vital information back to her colleagues in the resistance. But as the action and bloodshed escalate, Rachel realizes that she has genuine feelings for Muntze, and soon she is in enormous danger. Verhoeven's film is wildly ambitious and takes many intriguing twists and turns during its 145 minutes. BLACK BOOK commanded the largest budget of any film to be produced in Holland, and it shows. Explosions litter the screen, plenty of car chases ensue, and wince-inducing injuries and deaths propel the action. The director isn't afraid to criticize his fellow countrymen and inserts a fascinating subtext about the actions of the resistance fighters, asking some uncomfortable questions about the similarities between their behavior and that of the Nazis. Van Houten lights up the screen throughout and is surely destined for bigger things, and while the tumultuous experiences her character undergoes might push the boundaries of reality at times, Verhoeven has pointed out in interviews that Rachel is a composite character who encompasses the merged experiences of many real people from the era. [More]
Starring: Carice Van Houten, Sebastian Koch, Thom Hoffman, Derek De Lint
Starring: Carice Van Houten, Sebastian Koch, Thom Hoffman, Derek De Lint, Halina Reijn, Christian Berkel, Michiel Huisman, Peter Blok
Director: Paul Verhoeven
Director: Paul Verhoeven
Screenwriter: Paul Verhoeven, Gerard Soeteman
Producer: San Fu Maltha, Jos van der Linden
Composer: Anne Dudley
Studio: Sony Pictures Classics
Reviews for Black Book
This being Verhoeven, sexuality and extreme violence are not shied away from. It’s a badass, hard-core Verhoeven World War II movie, for all that entails.
This has to be the crassest, most excessive, vulgar and gratuitous wartime spy story ever told, which is exactly why you should see it.
Black Book, the first film Verhoeven has made in the Netherlands in two decades, is spoken in Dutch, German, Hebrew and English, and it lasts for 145 minutes. There's not a dull second in the bunch.
Paul Verhoeven's target in Black Book is extremists on both sides of the political equation
One longs for Nomi Malone to enliven the proceedings with her ketchup bottle of doom.
This voluptuously directed epic crumbles beneath the weight of its well-oiled but mechanical plot.
It's a dire and overlong period movie that manages to display a good deal of prurience and misogyny.
Carice van Houten is terrific in the lead role, radiating wit, energy and sex appeal.
A layer of mainstream gloss takes the edge off the horrors, but the man behind Robocop marches through with a steely assurance that rarely allows you to snatch a breath.
Stacked with espionage, romance and tragedy, this sees Verhoeven back on his game, while van Houten gives a bold breakout performance.
Frequently crass but never dull, Verhoeven's best film in two decades has the guts to acknowledge the voices that went unheard above the gunfire of WWII, but refuses to sacrifice entertainment value for verisimilitude.
A strange mix indeed: Verhoeven’s tacky exaggerations as applied to the Nazi occupation of the Netherlands. It’s implausible and outrageously comic, but equally memorable and passionate. Worth seeing.
The film may ostensibly deal with serious issues such as collaboration, the fight to survive and the need for forgiveness or revenge, but they’re really just window dressing for Verhoeven’s elaborately assembled but empty set pieces.
The screenplay could in fact have just as easily served as the template for a Roland Emmerich/Dean Devlin turkey
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