Black Book review

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Calling Black Book Paul Verhoeven’s finest film in years is hardly a great stretch. After all, his last feature – 2000’s Hollow Man – was almost as empty as its protagonist. But now with Black Book, in which Verhoeven goes Dutch, directing in his native language for the first time since the days of Wham!, it’s clear that escaping Hollywood has revitalised the director. In the last six years, he’s rediscovered his knack for spinning a cracking, white-knuckle yarn.

It’s not his first foray into World War Two: that was 1977’s Soldier Of Orange, which put him on maps outside Holland. But whereas said film was laconic and brooding, Black Book is brisk, frisky and glossed with a fine Hollywood sheen, courtesy of Verhoeven’s years of churning out blockbusters like Basic Instinct and Total Recall. (Indeed, such unashamed populism will probably mean the Academy voters will bypass this work come ballot time next spring.)

Stacked with espionage, romance and tragedy, this sees Verhoeven back on his game, while van Houten gives a bold breakout performance.

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