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.
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