MovieChat Forums > Zwartboek (2007) Discussion > Terrible even for Verhoeven

Terrible even for Verhoeven


I didn't expect much from this film - I'd seen (and been appalled by) all of Verhoeven's other 'efforts', but this one ranks among the worst movies I have ever seen (that were supposed to be good). The mystery element (who was selling out the Jews) - which should have been the central plot driver, is completely forgotten amongst a series of erratic and amateurishly-filmed set pieces that took the idea of contrived unreality to whole new levels. Any scene where a gun is fired seems completely ridiculous; ditto any scene where anyone is behaving sexually. Now, given that most of the movie can be fitted under those headings, we can see that the whole thing is terribly, terribly tarnished and terrible. It's so poor I wonder if Verhoeven has ever actually seen any films that have good gun-fighting scenes or sex scenes...does he know what sexy even is? I mean, the-epileptic-in-a-swimming-pool sex scene in Showgirls was pretty much the worst thing I'd ever seen at the time, but the fecal shower scene in this movie was the violent equivalent, and then some. How IS IT that this man can turn sex into something that makes one want to stop the film, and can turn horrific nationalistic revenge torture into something that even Troma wouldn't consider. Verhoeven should be the laughing stock of the Netherlands. Instead. this film is lauded...are there no other good Dutch filmmakers or what?

Unforgettably awful. Has burned holes in my memory.

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"The cook's a SEAL?!!"

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[deleted]

The answer: I don't watch films purely for 'entertainment'. I am a writer, so even a bad movie can give me something in the way of a new thought.

But a bad movie is still a bad movie.

I should elaborate more: what is PV trying to do with this movie? Make a believable portrayal of a WW2 drama? Fail. Titillate and excite? Fail. What is his target audience? If you like PV movies, then you are obviously part of that audience, and you can tell me what you like about them. I'm not going to attack your views, I am genuinely interested.

I think Basic Instict is the best of a bad bunch, since it provides a somewhat believable seduction, but again, as soon as the actual sex acts begin they are more ridiculous than anything found in HBO's Rome or even Brass's Caligula.

The guy has a name for himself for making 'glorified skinflicks' and violent movies, so how is it that the sex and violence in his movies fails to excite me, nor do I believe it?

"The cook's a SEAL?!!"

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[deleted]

Another key thing is how Ellis de Vries (or whatever her real name is) doesn't seem like a real person - its not believable that she would fall in love with Muntze just for sparing her life and giving her a seeing to a couple of times.

Carice van Houten is one of the most beautiful women I've ever seen, but if she wasn't, I would probably have switched off. Verhoeven is very calculating like that.

I agree with you about Total Recall. I'm a huge Arnie fan and still don't like it, especially for how it deals with good original material.

"The cook's a SEAL?!!"

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Amazing film from genius action-film director.
Incredibly well-paced film.

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I think you´re missing the point, mate.

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Best film on the WW2 resistance with Melville's Army of Shadows (L'Armée des Ombres).
I've read and heard resistants talk (very late and very rare in their old days, they didn't like at all to talk about this period) about the mess it was, never really knowing who was who save for the dead (as Merleau-Ponty said: Anyone who survived was a cheater), never really knowing what cause to serve and which to betray, often betraying betrayal itself for fidelity's sake.
That's what I've enjoyed in this film: the acute sense that nothing is never given, the frontier is constantly moving and sometimes you don't know yourself what side you're now on.
Read De Gaulle's War Memories, how he felt when Roosevelt said he preferred to discuss with Pétain because Pétain could be manipulated by the Americans like he had been by the Germans. No one is pure except the dead. That's the lesson of the Resistance. And you can feel it in Black Book.

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Well, I won't try and persuade you otherwise as you seem to be set in that opinion, but I want to register my complete disagreement. I think it was a moving, well-structured and distinctively shot film. As for your fixation with the sexual content, I would argue it's hardly the focus, and it could have been a lot more explicit if the director had wanted it to appeal to a 'skinflick' audience.

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I'm not fixated on the sexual content, nor was I criticising it for its explicitness. Compared with many other films, the film is not so explicit. But Verhoeven clearly has a very different idea to me of what is sexy.

What exactly moved you about the film? I'm curious.

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"The cook's a SEAL?!!"

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I feel like its insulting to even say this, but have you ever considered that Verhoeven is a master satirist? Almost all of his American films have a sense of humor to them (Total Recall, Robocop, Showgirls, Basic Instinct, Starship Troopers, Hollow Man). It is a twisted, obscure, profane humor. The same way you are amazed that people like his films, the same way I'm amazed when people don't see the sex in films like Showgirls as an over the top joke. He is criticizing the viewer and American audiences that want fappy material and he gives audiences what they ask for but makes fun of them at the same time.

With Black Book though, not being an American film, the sex is less of a rebellious wink at Hollywood. Instead he exposes the uncomfortable ties sex has to power, control, and survival. Perhaps this is why you are feeling uncomfortable? Because alot of times for the women in his movies, sex isn't coming from a place of love or eroticism. It's coming from women who are fighting for control in their lives.

Thinking that Verhoeven is "trying to be sexy" is missing the point. He isn't necessarily trying to give the viewer something to wank off to, but trying to both make a point about sex and clue you in on the character's motivations.

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I feel that you seek to make excuses for bad filmmaking here, sorry :)

I fully accept that you could have correctly divined Verhoeven's intentions, but my primary criticisms of the film were that it is a film that is very hard to take seriously, yet deals with very serious topics.

I'm not saying that WW2 cannot be dealt with in a satirical way, and if you are correct, then it would interest me very much that someone had decided to look a bit deeper into the motivations of characters in extreme situations - but, a) I simply don't think that's what he's trying to do, and b) even if it were, that message is lost in a series of dreadfully-staged set pieces.

The reason I think it IS an attempt at seriousness is the beginning and ending (the only parts not in flashback).

And I repeat what I said already about the set-pieces - the violence and sex which dominate and define them is completely unrealistic. If he is trying to say something about the viewer's expectations of sex and violence in cinema (which I don't think that he is, and if you think this, I feel you must find a quote from PV himself that supports this) then why make such a kitschy pile of dross like this rather than a masterpiece like Man Bites Dog?



"The cook's a SEAL?!!"

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People call his films satires to cover the fact that they are bad. They are bad! And they aren't good because they are satires, but because they contain some entertainment value, just like Transformers contains some entertainment value.

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yes he has made a couple of bad movies, but its the satire in his better films that elevates them from good to great. In fact without the satire a lot of his films wouldnt work at all.

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He does manage some decent satire via the (rather trite) vehicle of excess. He does it far better with violence than with sex, though. Robocop and Total Recall are justifiably praised, with Starship Troopers being somewhat underrated despite lacking any real subtlety; Showgirls and Basic Instinct are just terribly written pieces of dreck that he should be ashamed of putting out, especially Showgirls. Even if he intended Showgirls to be satirical, the truly awful dialogue, cookie-cutter plot, and terrible use of cinematic tropes makes it far too laughable in presentation to be considered even remotely worthwhile as satire. (And how he managed to rope Gershon, an actual talented actress, into that collective clown car of acting chops mystifies me to this day.)

Black Book tends to fall into the middle of his filmography for me. It's certainly ambitious in that "overly sonorous period piece" sense that thrills so many critics, but it demonstrates a decide lack of depth under the superficial respectability. Frankly, I think Verhoeven pretty much peaked in the late 1980s, and his body of work since then has mostly been the writhings of a man far too enamored of his past glory.

(Special mention should be made of "Flesh+Blood." While it showed promise, it falls squarely into the Showgirls/Basic Instinct category of his work. It was an attempt to make a popcorn flick "gritty" that fell to the ground with a resounding thud. It's not hard to encapsulate his failure in addressing sexual themes throughout his career by simply analyzing exactly how Verhoeven tried to cobble together the disparate thematic elements of this movie with eroticism into a messy mishmash/orgy of failed storytelling. As a medievalist, I do own it, btw, even if it's more early Renaissance. Plus you can't go wrong with naked Jennifer Jason Leigh, right?)

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I thought that Starship troopers was almost documentary realist about Americo-fascism, which is why I enjoyed it so much. I can see why you think it he's a satirist but I prefer to think of him as the Grand Vulgarian (good name for a sci-fi character).

Marlon, Claudia & Dimby the cats 1989-2010. Clio the cat, July 1997 - 1 May 2016.

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Odd to criticise a film that is predominantly neither violent nor sexy as not sexy and violent enough. There is, I think, one sex scene - and all it is is her getting nude for him. But it seems you have concentrated on this aspect of the film as if this is what this film was supposed to be about... well - not supposed to be, but somehow a prominent feature. But all it is used for is to show some of the sexual aspects of what a woman in her position perhaps had to endure. The majority of the rest of the ca 3 hour running time is dedicated to the resistance and her plight. The few 'action' sequences are suitably violent and don't jar very much. They don't have the intensity of Bourne nor the brutality of Ryan but they serve their purpose. And the fecal shower along with the other horrors of revenge, like shaving the women and parading them as 'nazi whores', are very poignant examples of elation turning to mindless acts of torture - sure people got up to much worse at the time. Quite accurately symbolises the feelings people may have had - to cover the former oppressors in *beep*

Of course this film is lauded. It's ambitious, well acted, shot and put together. Perhaps one too many 'who-done-it' revelations towards the end but well handled in the sweeping style of classic war films like Where Eagles Dare with the grandios soundtrack and the build up of tension. What holds it together is van Houten though who is very brave in her choices as an actress - strong, feisty, sassy and emotional all at once.

It's not a masterpiece but a fine war epic. For some reason you find it awful. Another one of those 'worst films I've ever seen' comments when that is obviously not the case. But it made you angry and then blame it on Holland and bad sexy bits... odd things to criticise.

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I'm not criticising it for being not sexy or violent enough. I'm saying those elements are badly handled, in my opinion.

I haven't blamed Holland - no idea where you get that idea from. The film didn't make me angry, I just didn't like it.

My criticisms extend beyond the badly-handled sex and violence, but since they are ostensibly two things the director chooses to highlight (and does so in most of his films), they warrant more immediate criticism than other aspects.

The whole approach of the film seems badly out of kilter with the reality of wars and I just don't understand what messages (if any) PV is trying to communicate.

"The cook's a SEAL?!!"

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In which war did you fight?

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obvious troll

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Well, it's obvious from the reviews here and elsewhere that most people would strongly disagree with you, and I'm happy to be one of them. But hey, I might think some of the films you consider worthwhile are not much good, too. That's the thing about art: it divides opinion.

As it happens, when I first watched "Black Book" (having recorded it from TV) I'd heard a lot of praise for it, but I didn't know (or had quite forgotten, and didn't notice in the titles) that it was a Paul Verhoeven film. I was very surprised when I discovered after I'd seen the film that he was the director (and one of the writers). In a way I'm glad about that, as it meant I was not prejudiced.

Not that I would have expected it to be bad, but certainly I would have expected something other than what I found: a moving, well-constructed and well-acted drama, that had me reaching for IMDb to give it good rating. I have seen most of Verhoeven's films, and they vary considerably. I own eight of them. Some, like "Basic Instinct", "Turks Fruit" and "Flesh+Blood", have much to recommend them, and I have enjoyed watching them more than once. His SF films like "Total Recall" and "Starship Troopers" are pure cartoon fantasy and escapism, enjoyable trash. But there are a few which, I accept, are pure rubbish, and I found little of value in them — I'm thinking of "Showgirls", in particular (though I admit I have not sat through the whole film, and I have not bought a copy).

Verhoeven is a very able director: he knows just what he wants to do, and manages to do it very well. Production values are invariably excellent. He does like to to stick two fingers up at the establishment (and he can do that very well, too!). He likes to divide opinion, and he appears to have done that in your case. I'm quite sure he doesn't mind what you think of his film, indeed I wouldn't be surprised that he is delighted at the vehemence of your response to it.

You clearly don't like the film, but you seem to be judging it on all the wrong criteria. Unfortunately, real wartime rarely includes any "good gun-fighting scenes": in situations like those in this story, gun battles and shootings are often hasty, haphazard, and involve much fear, panic and/or hatred. And in this film, there were no real sex scenes, and what there were certainly weren't particularly sexy, nor I suspect were they meant to be. Verhoeven knows how to do sex scenes that are not purely gratuitous (eg, "Turks Fruit"), and he could have chosen to be much more "sexy" or explicit within a story like this if he'd wanted: he clearly did not. As for the one scene you singled out (the faecal shower), agreed, it was horrific: but it was realistic, and very well done, and such things really happened, many times over, at that point in history, a fact which you would clearly wish to disbelieve. It certainly does not invalidate the film in any way.

Fortunately, Verhoeven is not the "laughing stock of the Netherlands". They appreciate him, and I believe you're the poorer for not being able to. I shall certainly be buying a copy of "Black Book" on DVD, and I think it will probably turn out to be the "best" of his films, in my personal list of favourites. But as I say, that's just my opinion. You have yours.

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I judge every movie on the same 5 criteria: cinematography, acting, ambience (including soundtrack, production design etc), philosophical value, script.

Black Book gets 4/10 for cinematography (cartoony and risible), 3/10 acting (largely unrealistic, borderline accidental slapstick), 2/10 for ambience (corny and very far from reality), 2/10 for philosophy (vacuous and nihilistic), and 5/10 for script (the best element but far from impressive).

Overall = 28%

Certain elements of artistic media are subjectively up-for-grabs, but there are elements that are objective and inarguable.

Paul Verhoeven not only couldn't make a movie like Three Colours Red, but he doesn't even dream of doing so. He thrives on making trashy prolefeed.

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"The cook's a SEAL?!!"

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Well what can I say, except to repeat that I disagree? So, apparently, would those who nominated it for a number of awards, including BAFTA.

I wonder which elements you feel are "objective and inarguable"? I would certainly argue with your ratings - ratings are never objective, by definition.

Just for interest, I've tried to rate the film myself on the criteria you propose, and I would give it something like 7 for cinematography (and Lindenlaub has some fairly serious blockbuster credits to his name, many of them in a style sympathetic to Verhoeven's own style of direction), 8 for acting (van Houten in particular has been widely praised for the way she managed to portray the suppression of grief, and her vulnerability and disbelief in the midst of the horrors of wartime), 6 for ambience (far better than most WWII films, and few wartime resistance films are as realistic as this one imho), 7 for philosophy (nihilistic? really? surely there were moral principles at the core of the story - Verhoeven's premise, here as in "Soldiers of Orange", is that even in wartime, things are rarely black and white, and though he may not entirely succeed here, he makes his point credibly), and 6 for the script (not a masterpiece, but more than adequate).

I actually rated the film 8/10 on IMDb, but then I include enjoyment (a very subjective evaluation) in my ratings.

Of course Verhoeven couldn't make "Three Colours ...", and wouldn't try to. Neither, I suggest, could David Lean. And if Kieslowski had made "Black Book" it would have been a very different film, but not necessarily better.

From someone who includes two Star Trek films on his IMDb "list of films" (including "The Voyage Home" - really???), this criticism of "Black Book", an entirely more worthwhile film in every respect, is almost risible.

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You've got to be joking.
I've got a distinct feeling you somehow watched another movie by mistake.

Cartoony cinematography?! FFS, man.

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[deleted]

Cartoony cinematography?! FFS, man.
I felt the same way. I think the OP has been out in the sun too long or been imbibing illicit substances impairing his judgement. The film was beautifully photographed and has excellent overall production values. It's a winner IMO! Don't be put off by the axe-grinders.

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cinematography (cartoony and risible)


And what if it's cartoony? Gordon Willis is not the only way to go. The cartoonish effect fits very well with Verhoeven's over-the-top poetics.

acting (largely unrealistic, borderline accidental slapstick)


Again, the Gena Rowlands/Robert De Niro method acting tradition is not the only one out there. I would say it is deliberately melodramatic, and this rhymes very well with the cartoonish cinematography.


2/10 for ambience (corny and very far from reality)



Cartoonish? Borderline slapstick? And now corny? Do you really can't see a pattern emerging here? All you managed to prove so far, that Verhoeven is consistent with his aesthetics.

2/10 for philosophy (vacuous and nihilistic)


I wouldn't say it's absolutely nihilistic, absurdist, maybe. But then what if it is? If you don't agree with Verhoeven's worldview, that means he's a bad filmmaker? Talk about being objective here.




Verhoeven throughout his career has been poking fun at popculture, while making campy popfilms himself. It's called irony, and he is consistent about it. This movie basically says: "You want holocaust kitsch? Here you go, the kitschiest Holocaust film ever!"

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Show me evidence that this movie is intended as a tongue-in-cheek, ironic, deliberately kitsch work, then, if that's your assertion. The scenes set a long time after the war completely suggest otherwise.

Why does bad filmmaking always get defended as 'ironic'?

Can't bad stuff just be bad?

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Well, I tried to argue that the movie is formally coherent in itself, and you can't find this kind of integrity in naive camp.

But if you're interested, you can check out a few Verhoeven interviews; you will see that he is a genuine auteur, who takes satire seriously. You might not like him, but calling it bad filmmaking is wrong when you consider some actually crappy-campy directors, like Ed Wood or Demian Lichtenstein or Uwe Boll.


Also you can find a few re-evaluative essays on Showgirls:

http://www.slantmagazine.com/film/review/showgirls/1087



"I mean, I know that I did it. Not that I tried to copy Fellini. But I felt like using the camera that way -- because you see it all the time on the dressing rooms -- it's all camera move. That's why people say "very elegantly shot." But when you say, "I think it's a very elegant movie," people start to laugh because they think it's filthy. I mean, at that time, those were the reviews. People were writing, "I went to see 'Showgirls' and I had to leave the theater because I had to throw up." That's how it was received."
This is Verhoeven himself in the recent Huffington Post interview.

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Sorry, but I'm not sure what point the quote is making about Showgirls. Frankly I think it's a piece of indefensible trash, possibly his worst film of all.

As for the link, the article appears to have been written, on review, by someone with precisely the opposite definitions of even the basic meanings of cinema critique to me, so I can't take anything from it.

"Showgirls is undoubtedly the think-piece object d'art of its time". What does this even mean?

If it means it is undoubtedly the most thought-provoking piece of art of it's time, then that OPINION would only be qualified by a tiny minority of people such as yourself you actually try to defend PV's movies as art. They are enjoyed commercially by people who want instant gratification, titillation, and shots of Wayne Knight sweating as he spies vagina. But for some reason a couple of people actually want to say it's satire. You talk about interviews where he says this, but even he says it, I fail to see the satire in his movies, and therefore cannot enjoy them as such.

Is 'Django Unchained' satire? The 9th Gate? Where do you draw the line?

Black Book is approximately as exploitative as both of those films, in my view, without being anywhere near as enjoyable as either.

I pity anyone who was silly enough to watch Showgirls in a theatre. They were victims of a short-con viral advertising scam, as far as I'm concerned.

If you have such a great understanding of what Verhoeven is trying to achieve satirically, please explain to us all how the excrement scene satirises ANYTHING.

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Well done, OP, for sticking to your guns for three years on this! The movie hardly seems worth the effort.

I see Verhoeven as a Dutch Michael Winner. Everything he does is ridiculous but sometimes it's so over the top ridiculous that he just kind of gets away with it, especially when he throws in a lot of sex and violence.

Black Book, being one of his less preposterous movies, reveals his more serious flaws as a filmmaker. The situations are clichéd, the characters are caricatures, and their reactions are derived more from movies than from real life. E.g. When the main character is bleaching her pubes, knowing she's likely to be raped the next day by a German officer and possibly killed if he suspects she's Jewish, a fellow resistant walks in on her and sees her naked. So, of course, they get randy and have sex - because, in Verhoeven's mind, that's how real people behave, apparently.

For a genuine masterpiece of Resistance drama, see Melville's L'Armée des ombres, the film which Verhoeven is incompetently trying to imitate here.

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Kinsayder, I agree with you on everything.

I had high hopes on this film, not least by the IMdB-rating and was disappointed. I did appreciate the period production and the cinematograph though. In my opinion the script was the worst.

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This is a great pulpy adventure. How could you possibly think that it's meant to be 100% serious? I guess you think that Tarantino also makes serious films.

This film has much more in common with Inglorious Basterds than with serious WWII movies, hell, they might as well take place in the same universe.

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Well there are many scenes that really try to convey a serious, even sombre mood. Look at the way the film starts, positioning the whole thing as a flashback.

But seriously, there are two kinds of people that have come onto this thread and disagreed with me. People who think it's serious, cutting, very clever, etc.; and those who tell me I need to just lighten up and enjoy the titties and comedy violence.

But a) if I wanted titillation I could think of 100 movies better than this one; and b) both groups can't be right. Either Verhoeven is, as YOU say, a pulpy funster. Or he is - as many on this thread have described him - an auteur.

Personally I think he tries to do something half-decent, but he is just a terrible filmmaker that lucked out with Robocop and Total Recall.

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Either Verhoeven is, as YOU say, a pulpy funster. Or he is - as many on this thread have described him - an auteur.


These things are not mutually exclusive. Auteur doesn't indicate seriousness or even quality. Also, those who say it's serious are not completely wrong. This film takes place in an elevated reality but isn't outright cartoonish other than some isolated touches here and there. I did compare it to Inglorious Basterds (and it really might be the closest thing to IB I've seen) but it's still far more restrained, though, admittedly, also less inspired work.

Personally I think he tries to do something half-decent, but he is just a terrible filmmaker that lucked out with Robocop and Total Recall.


Those are not bad but I think Black Book is considerably better than any of them.

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I judge every movie on the same 5 criteria: cinematography, acting, ambience (including soundtrack, production design etc), philosophical value, script.

Oh my, you're so systematic!

Black Book gets 4/10 for cinematography (cartoony and risible), 3/10 acting (largely unrealistic, borderline accidental slapstick), 2/10 for ambience (corny and very far from reality), 2/10 for philosophy (vacuous and nihilistic), and 5/10 for script (the best element but far from impressive).

I won't comment the others but as much as atmosphere and acting goes -- what the *beep* do you know what was "realistic" back then? You must be young to not know that the social manners, thinking patterns, the way of talking and moving etc -- they all change quite a lot, I know they did even during my relatively short lifespan. Now, you are judging "realism" from today's point of view.

In fact it's funny to hear someone complaining about sex content not being "sexy enough" and shootouts not being choreographed and sleekly edited -- well, perhaps you have a lot to learn even about today's reality first, there's a scope to it.

And finally, as many had said before, this wasn't intended to be an ultra-realistic drama, I think it was clear from the very start. And while this is not my preferred genre, I really enjoyed the film. 7/10



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I must agree 100% which benettfreeman. Unlike Downfall, which made me feel like a fly in the wall witnessing real events, every minute of Black Book feels like "a Paul Verhoeven movie", which to me is not a good thing. Surprisingly naive effort from such an experienced director. In fact his WW2 occupied Netherlands film "Soldaat van Oranje" from 1976 is much better and more mature despite its flaws.

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Amazingly good film. Perhaps those not liking it were disappointed not to find Sylvester Stallone and Goldie Hawn as the main stars.

Anyone AT ALL familiar with the Netherlands and the period 1940-45 will appreciate how this film hits the nail on the head only too well.

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