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Review: Oink (2022)

Oink (2022)

Directed by: Mascha Halberstad | 72 minutes | animation, family | Original voice cast: Hiba Ghafry, Kees Prins, Matsen Montsma, Jelka van Houten, Henry van Loon, Loes Luca, Johnny Kraaijkamp, ​​Alex Klaasen, Remko Vrijdag

Every child wants to try a pet at some point. So is Babs (Hiba Ghafry), preferably a puppy. Mother Margreet (Jelka van Houten) and father Nol (Henry van Loon) have to sleep on it for a few nights because their daughter can be quite impulsive. Then grandpa Tuitjes (Kees Prins), who suddenly arrives at the family’s doorstep all the way from America, gives Babs a piglet as a present for her ninth birthday. Babs is immediately in love and calls him Oink. Mother is a lot less pleased with Grandpa and Piglet. She is especially afraid of intruders in her vegetable garden. After all, the family is (self-sufficient!) vegetarian from head to toe. And Margreet doesn’t like that the present comes from her father, who is in fact absent. Grandpa has to stay in the garden house for the time being and Piglet can only stay if he doesn’t eat the vegetable garden or if he poops everything. Together with her good friend Tijn (Matsen Montsma), Babs tries to wash this pig.

By the way, Babs thinks grandpa Tuitjes is a strange fellow and has to get used to his accent, the cowboy hat and the banjo game by moonlight. Moreover, he is quite secretive about a large suitcase he brought with him. Grandpa himself does not care about all kinds of social hassles and the standard greenery on the dining table. In fact, he didn’t just come back to hook up with the family. After decades of absence, he also wants to create a furore at the sausage competition of the Association for Meat Products of Fresh Pigs.

If there’s one thing you don’t get from ‘Own’, it’s grumpy. What a party number! This homegrown animation film is based on the book ‘The Revenge of Knor’ by Tosca Menten. Writer Menten had not expected in her wildest dreams that this would be the result of the collaboration. Yet Menten clearly lies at the origin of the humorous and playful look at complex subjects for the everyday family. What do you actually eat when you eat meat; a father who suddenly leaves home and hearth; dog training for pigs and jokes about poop of course.

Director Mascha Halberstad has earned her stripes in the animation world with, among other things, several short films, a video clip for the band The Prodigy, and the TV series ‘Fox and Hare’ (2018 – …). ‘Own’ seems to be the culmination of the work so far. Her first feature film is both a crafty book adaptation and a visual feat. Sometimes it is also reminiscent of a plump Dutch grandnephew of ‘Fantastic Mister Fox’ (Wes Anderson, 2009); ‘Knor’ is more comical, flatter and more direct than many youth films. The poop jokes do not predominate but there is always room for them. The ensuing slight anarchy is enjoyable for anyone over the age of six. The voice actors also visibly enjoy the material. Especially Kees Prins and Loes Luca (the gruff aunt Christine) go wild on the playful (under)tone. Plus, ‘Own’ is full of mischievous movie references, including to ‘ET’ (Steven Spielberg, 1982) and ‘Mad Max: Fury Road’ (George Miller, 2017) (note the tractor scenes!). Following the stop-motion masters of Aardman Animations (‘Wallace & Gromit’, ‘Shaun the Sheep’ et cetera.), Halberstad and her animation team have transformed the tangible clay into something very lively and touching on screen without going on the sentimental tour. They can compete with the best in the genre.

Every now and then the stop motion seems sluggish, as on a late summer day. This is anything but disturbing and strongly supports the dry humor and thoughtful view on social themes. And although the current state of affairs in the meat industry is neither fish nor meat, the film is not grumbling about it in terms of moralism. Could the story perhaps go deeper into certain matters such as the disappearance of grandfather Tuitjes from the life of daughter Margreet? Absolutely no man overboard here, enough wealth and perhaps it is an idea for a spectacular sequel.

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English Reviews

Review: Cocoon (2021)

Cocoon (2021)

Directed by: Lisette Vlassak | 21 minutes | drama | Actors: Noël van Kruysdijk, Bart Slegers, Kris Hutten, Darryl Amankwah, Reinier Saenen, Pauline Bas, Coen Bril, Henry van Loon, Friedl de Nyn

‘Cocon’ is one of the graduation films from the Lichting 2021 of the Dutch Film Academy, which can be seen during the Keep an Eye Film Academy Festival for a short period in October 2021 in Eye Filmmuseum and online on Picl. Based on an idea by the director Lisette Vlassak, ‘Cocon’ is about the budding sexuality of a fourteen-year-old boy, Sonny. What makes ‘Cocon’ so special are the parallels that the young protagonist himself draws with the fauna – Sonny is extremely interested in nature – and the way in which this is portrayed on the silver screen.

After his first wet dream, Sonny is shocked to death. Just as he realizes what may have happened, his older sister Kim stands in the doorway and inquires if he has “any laundry left.” Sonny just barely has the presence of mind to answer that question in the negative, but does take his stained pajama bottoms to school to show them to his friend Ferdi. He confirms Sonny’s suspicions: he is sexually mature.

Now that Sonny knows this, his brain is working overtime. Although biology is his favorite subject, he has never been so concerned with human nature. He does know everything about the animal kingdom. He now applies that knowledge to his situation. Classmate Coco is suddenly very interesting, but how does he get her to see him?

The events in ‘Cocon’ seem to be slightly out of touch with reality. The overly tough, incomprehensible father; the attractive, yet caring sister and the bully Nigel, are magnified characters in a somewhat surreal world. ‘Cocoon’ is set in a bygone era; the cars in Sonny’s father’s garage certainly don’t have a catalytic converter yet, there are no digital blackboards and cell phones are nowhere to be seen.

‘Cocon’ is an original and successful short, which is somewhat reminiscent of the work of Wes Anderson. The music of Max Abel should not remain unnamed, for this the film won the Keep an Eye Filmscore Award 2021. Cinematographer Evert Bazuin also received the Geoff Boyle NSC Student Award Best Fiction Cinematography 2021.

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English Reviews

Review: Mustache (2020)

Mustache (2020)

Directed by: Victoria Warmerdam | 10 minutes | comedy, drama, short film | Actors: Henry van Loon, Wim Willaert, Sieger Sloot, Rogier Schippers

‘Snorrie’ is about Freek, a man in his thirties, who is preparing a move in the attic of what is probably his parental home. Suddenly a man appears behind him, and although Freek is startled by his sudden presence, he immediately recognizes his former friend. It’s Snorrie (Wim Willaert). Snorrie is happier to see Freekie than vice versa, it seems, though he has a special reason for that.

‘Snorrie’ is a dryly comic film with a unique starting point. Plenty of movies have been made about imaginary boyfriends, but not many about grown people seeing their imaginary friend again after so many years and what that does to them (and to that imaginary friend). Although, perhaps ‘Christopher Robin’ falls under that category. Henry van Loon is perfectly cast, on the one hand he represents the audience by realizing the absurdity of the situation, but is also believable in the more dramatic scene.

Wim Willaert is also very convincing in his “I am not angry, but disappointed” attitude. Finally, Sieger Sloot has a hilarious role, which is largely due to his outfit, but his body language also contributes to it. Filmmaker Victoria Warmerdam has previously worked with Van Loon en Sloot, her film ‘Korte calf muscle’ (2019) has already won prizes at several international festivals. This combination of people in front of and behind the camera works well, ‘Snorrie’ is a good proof of that.

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Review: Housewives Don’t Exist 2 (2019)

Housewives Don’t Exist 2 (2019)

Directed by: Aniëlle Webster | 105 minutes | comedy | Actors: Jelka van Houten, Eva van de Wijdeven, Loes Luca, Leo Alkemade, Kay Greidanus, Leopold Witte, Jim Bakkum, Fred van Leer, Tina de Bruin, Henry van Loon, Patrick Martens, Robert de Hoog, Leny Breederveld

Among the piles of romantic comedies that are released annually in our country, ‘Housewives don’t exist’ (2017) stood out in a positive way two years ago. Not because the story was so brilliantly put together or original, but because of the appealing characters who struggled with issues that all women have (had) to deal with. Recognition was the great asset, in addition to the strong acting by leading actresses Jelka van Houten, Loes Luca and Eva van de Wijdeven. The film was based on ‘The Housewife Monologues’, the 2013 novel by writer and columnist Sylvia Witteman – who, incidentally, did not receive the credits on the credits – which Rick Engelkes translated to first the theater and later the silver screen. And now there’s ‘Housewives Don’t Exist 2’ (2019), not so much a sequel but a film that follows the same three women in their everyday existence, only now a few years later. The screenplay is again by Richard Kemper (‘Veldhuis & Kemper’) and the director is Aniëlle Webster, who was also responsible for the first film and who has had a busy year; two months ago, another Dutch romkom directed by her was released, ‘Wat is then Liefde’ (2019).

In ‘Pets do not exist 2′ we can once again take a look at the life of flower power mother Loes (Loes Luca) and her daughters Marjolein (Jelka van Houten) and Gijsje (Eva van de Wijdeven). Loes also has (young) male attention not to complain but is starting to get a little tired of tinder. The generation gap with boys like Boy (Robert de Hoog), who is at least half as young, is now really noticeable and Loes is actually beginning to long for someone her own age. When Bernd (Leopold Witte), a self-help book writer and self-proclaimed life coach, crosses her path, she’s sold. Gijsje is now the mother of a son, but is still a perfectionist and ambitious. She has her boyfriend Jasper (Kay Greidanus) firmly under her thumb and she is also in control of the advertising agency where she works. Her agency appears to be in the running for an important award and that only puts Gijsje on edge. But whether her environment is so happy about that…? Marjolein happily dabbles with her three children and her blog about life as a housewife and mother. However, she gets upset when she reads mysterious messages from a woman on her husband’s phone. Is her Huib (Leo Alkemade) having an affair? The fire in their relationship has cooled down quite a bit, so she first tries to stoke things up with exciting (but rather complicated) lingerie and sex toys, but that only backfires. So she decides to follow Huib. What she then finds does not make her happy to say the least…

We all just do whatever, that’s the underlying motto of ‘Housewives don’t exist’ (both part 1 and part 2!). It’s about women who look like ourselves, or someone we know. Women who try to keep all balls high, who run a family and a household, who also work (and want to be taken seriously in their work), who want to be there for their partner, family and friends. There must also be exercised in between and that all has to be done with a smile. ‘Housewives don’t exist 2’ doesn’t make fun of it, but holds up a mirror to women: see yourself slogging and struggling. One (Gijsje) desperately tries to maintain the perfect picture (certainly towards the outside world), the other (Marjolein) has long since let go of that ideal image and is bumbling through life. And Loes, who always led a licentious life, comes to the realization that in retrospect she might have done things differently. These are women who could have been your neighbor. They are also played wonderfully by Van de Wijdeven, Van Houten and Luca. Van Houten in particular is on a roll; she has the best one-liners and is great at shooting herself. In these kinds of roles, she is certainly not inferior to her famous older sister Carice. The supporting roles are also nicely filled in, with Alkemade as the sometimes somewhat silly Huib and Fred van Leer and Patrick Martens as a gay couple befriended by Marjolein, who makes a crucial contribution in the final act. In even smaller roles we see Henry van Loon, Jim Bakkum, Tina de Bruin, Leny Breederveld, Sabri Saad El-Hamus and screenwriter Richard Kemper, among others.

‘Housewives don’t exist 2’ doesn’t try to reinvent the wheel and is occasionally guilty of trite jokes (the situation with the sex toy, for example, was not necessary), but just like the first part, this film also offers a celebration of recognition for women in general and mothers in particular. Realistic characters, portrayed by three outstanding actresses. Let yourself be dragged into the lives of Marjolein, Loes and Gijsje and worry and wrestle with them. Just the realization that you are not the only one who is always and eternally looking for peace, overview and balance in your life is a reassuring realization!

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Review: The Annoying Island (2019)

The Annoying Island (2019)

Directed by: Albert Jan van Rees | 90 minutes | adventure, comedy | Actors: Matsen Montsma, Jacob Derwig, Ivy Ribbens, Tjitske Reidinga, Ilse Warringa, Noortje Herlaar, Henry van Loon, Leny Breederveld, Martine Sandifort, Albert Jan van Rees, Ellen Parren, Wart Kamps, Randy Fokke, Sadettin Kirmiziyuz, Stefan Stasse, Amber Robin Berentsen, Yenthe Bos, Ruben Brinkman, Sam den Tenter, Don Duyns, Jennifer Evenhuis, Rover van Gennep, Dana Goldberg, Aus Greidanus Jr., Mattijn Hartemink, Martijn Hillenius, Bas Hoeflaak, Sander Huisman, Bart Klever, Rienus Krul, Maike Meijer, Masataka Miyanaga, Pim Muda, Wouter Oosterwijk, Rosa Reuten, Teun Stockel, Bauke van Boheemen

The brothers Tim and Wart Kamps became known as comedians. Together with Bor Rooyackers, they won both the jury and audience prize at the Amsterdam Kleinkunst Festival in 1998. After eleven years, the Kamps twins continued as a duo and in the same year (2009) they formed the Monica Da Silva Trio with colleague Arjen Lubach. Wart and Tim are also active as television producers. Their hilarious science fiction comedy ‘Mission Earth’ developed into a cult favorite. And now there is their first feature film, the Telefilm ‘The annoying island’ (2019). With the same absurdist humor that we are used to from the brothers, but aimed at a young audience. Wart and Tim wrote the screenplay, Albert Jan van Rees (‘Doris’, 2018) directed. And a variety of well-known actors pass by in large and smaller roles: Jacob Derwig, Noortje Herlaar, Tjitske Reidinga, Ilse Warringa, Martine Sandifort, Leny Breederveld and Henry van Loon pass by (there is a high ‘Luizenmoeder’ content) . And Wart Kamps himself also plays a part.

‘The Annoying Island’ begins with a scene in the Middle Ages. A group of savage villagers target the mysterious Amarantha (Noortje Herlaar), who they claim is a witch. To prove this, she is pushed into the water: if she floats, then she is indeed a witch and must be prosecuted. However, Amarantha disappears underwater. Just as the stunned people dare to jump to conclusions, a ghostly apparition of Amarantha rises from the water to tell them that their actions will be punished: she casts a curse on them. From now on they are forever annoying. Fast forward to the present tense. A father (Mattin Hartemink) tells his son (Rover van Gennep) a bedtime story. The boy is actually just too old for that, but because the family has just moved and he doesn’t really feel at home in his new bedroom yet, his father decides to reassure him. Everyone feels out of place from time to time, but there is always something to be done about it, is the message of his story.

That island full of annoying people still exists, according to the father. There is only one boy on the whole island who is not annoying, the young Hunter (Matsen Montsma). By now he is used to the fact that everyone around him has rather nasty habits; after all, he doesn’t know any better. So in a class where there is a lot of stuffing and typing with pens, and where the teacher (Martijn Hillenius) is perhaps the most annoying of all, he quietly does his tasks. It’s not much better at home. His mother (Ilse Warringa) always does everything exactly according to the rules, his father talks to dolls and his brother makes up raps that don’t rhyme. One day, the Prime Minister of the country (Stefan Stasse) comes to the island to open the newly constructed bridge. Never before have people ‘from outside’ come to the island. Shortly after his visit, the Prime Minister begins to behave strangely. His head of security Mrs De Wit (Leny Breederveld) draws her conclusions: he is infected. She sends researchers Boudewijn (Jacob Derwig) and Frank (Sadettin Kirmiziyuz) with their daughter Aafje (Ivy Ribbens) to investigate. Hunter and Aafje become friends and as a result the boy discovers that he is the only one who does not seem susceptible to the ‘irritant disease’. But the contagious disease seems to be spreading further with the arrival of the bridge and Mrs. De Wit takes drastic measures to prevent this. It’s up to Hunter and Aafje to lift Amarantha’s curse before it’s too late. But Aafje and her two fathers are also not resistant to the virus.

Does the story sound absurd? It is. But a lot is allowed in children’s films. The Kamps brothers have a valid explanation for the fact that Hunter is the only one not susceptible to the virus: he is hard of hearing, so he cannot hear certain tones. ‘The Annoying Island’ is imaginative and absurd, and is packed with colorful characters. Of course they are larger than life, but that is of course the film itself, no matter how average the islanders may look at first glance. The style of filming – with a sort of tilt shift lens – creates an extra alienating effect. Other special effects, especially those in the projection of the witch Amarantha above the water, are less convincing. ‘The Annoying Island’ is original and entertaining and certainly for the youth there is plenty to laugh about. In our opinion, Tim and Wart Kamps should also try a film script aimed at an adult audience.

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Review: Crazy With Happiness (2017)

Crazy With Happiness (2017)

Directed by: Johan Nijenhuis | 102 minutes | comedy, romance | Actors: Plien van Bennekom, Carly Wijs, Loes Haverkort, Matteo van der Grijn, Henry van Loon, Marie-Mae van Zuilen, Keanu Visscher, Marc Bosch, Beppie Melissen, Nick Roeten, Nick Vorsselman

Plien van Bennekom is a versatile woman. She is best known as half of the cabaret duo ‘Plien en Bianca’, with whom she has been working together with her colleague and good friend Bianca Krijgsman for over twenty years. Since they won both the jury and the audience prize at the prestigious Camaretten Festival in 1996, they have been drawing full houses. Their children’s program ‘Zaai’, which they made with Joep Onderdelinden, was also a success. But Van Bennekom can do more. For many years she was part of the cast of the satirical program ‘Koefnoen’, in which her parody of Linda de Mol was particularly memorable, and she can be seen in the comic consumer program ‘Kanniewaarzijn’. She also played a prominent role in the educational series ‘Welcome to the Golden Age’, aimed at school-aged youth, and played supporting roles in numerous film, TV and musical productions. In the romantic comedy ‘Crazy of happiness’ (2017) by Johan Nijenhuis, Van Bennekom lands her first real leading role in a feature film. Where Krijgsman with her role in the Telefilm ‘De Nieuwe Wereld’ (2014) showed that she also did not shy away from more serious work (she even received an International Emmy Award for it), Van Bennekom sticks to a rather cabaret-like portrayal of a woman we , despite her charming bumbling, but can’t seem to close in our hearts.

Van Bennekom plays Lena Verheijen, a woman in her forties who earns a living as a songwriter for her practically retired singing friend Valerie (Carly Wijs). She lives with her seventeen-year-old daughter Maud (Marie-Mae van Zuilen) in a picturesque farmhouse in a village in the east of the country; she keeps the identity of Maud’s father a secret, something that is increasingly troubling her daughter. But another problem presents itself first: Valerie desperately needs a new hit, but Lena struggles with writer’s block. She should fall in love again, that will give her new inspiration, Valerie believes. But after seventeen years of ‘standing dry’, dating Lena doesn’t go very well; she’s even forgotten how to kiss (tongue)! The rich notary in the village (Henry van Loon), a snazzy and spoiled mother’s child, has had a crush on her for years. Lena doesn’t really like him, but for lack of anything better, she still ventures on a date. Meanwhile, Valerie comes up with a brilliant plan: she hires the unemployed actor Hugo (Matteo van der Grijn) to take over Lena. If she falls in love with him, then that inspiration will probably be fine. Hugo sees a nice challenge in it and plays the game, complete with wig, sultry voice and blurry one-liners. And Lena falls for it and falls madly in love. What nobody had taken into account, however, is that Hugo is slowly but surely starting to develop feelings for Lena…

Central to ‘Mad of happiness’ is the contrast between small, pure and authentic versus grandiose, lavish and counterfeit. Nijenhuis and screenwriter Jacqueline Epskamp try to exploit this contrast, but the balance for the film as a whole nevertheless tilts towards the latter; Crazy about happiness has little to do with genuine emotions and honest characters and is rich in clichés. The biggest problem is actually that Van Bennekom gets stuck in cabaret acting. Whether it’s her glance or her voice; she constantly gives the impression of being a character rather than a woman we should sympathize with. Certainly in the scenes that (should) have a serious undertone, therefore, miss their target. Moreover, she has no chemistry with Van der Grijn. Better are her scenes with her film daughter Van Zuilen, who comes across as fresh and natural. Had Nijenhuis cast an actress with a broader palette of emotions for the lead role, this would undoubtedly have turned out better (because more credible). As a comic duo, Beppie Melissen and Henry van Loon as mother and son hit the mark; their scenes are just about the climax of the film, which otherwise comes across as rather messy, shallow and predictable.

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Review: Ron Goossens, Low Budget Stuntman (2017)

Ron Goossens, Low Budget Stuntman (2017)

Directed by: Steffen Haars, Flip Van der Kuil | 78 minutes | comedy | Actors: Tim Haars, Bo Maerten, Michiel Romeyn, Henry van Loon, Thomas Acda, Don Alphonso, Jos Bakker, Pieter Bouwman, Dennie Christian, Steef Cuijpers, Karsten de Vreugd, Tygo Gernandt, Nick Golterman, Steffen Haars, Bert Hana, Gerda Havertong, Martin Koolhoven, Tim Oliehoek, Roy Reymound, Medina Schuurman, Jules Seegers, Huub Smit, Bonnie St. Claire, Eddy Terstall, Waldemar Torenstra, Quinty Trustfull, René van Berge Henegouwen, Maartje van de Wetering, Flip van der Kuil, Ad van Kempen, Hanna van Vliet, Nils Verkooijen, Ilse Warringa, Chris Zegers

’12 Years a Piet’, ‘Bokito’s Revenge’ and ‘Straight Outta Alphen’. Just three film titles from the repertoire of Ron Goossens, who caused a furore as a low budget stuntman. This unlikely hero is a creation of the team behind the ‘New Kids’ movies. In ‘Ron Goossens, Low Budget Stuntman’ they perform Ron Goossens, an alcoholic who, after a night of drinking, gains national fame with a Youtube video in which he tries to jump an open bridge with a car. That failed (of course) and there you go: a success. He is then approached by a shady manager to get a job as a low budget stuntman.

At home, however, things are not going so well. His girlfriend turns out not to have been very faithful and doesn’t see the relationship anymore. She does give Ron the choice: if he gets the beautiful actress Bo Maerten in bed, then his girlfriend sees a future together.

It’s an unlikely setup that has almost become a signature of its creators. Then it is a good thing that such films do not have to rely on their credibility. The absurd is actually a strong point and in ‘Ron Goossens, Low Budget Stuntman’ there is also a lot of effort. What works especially well are the references to Dutch tragedies that are used as fictional films and the fact that there are enough well-known Dutch people who don’t take themselves too seriously. Chris Zegers, for example, plays a drug-addicted failed actor who never gets a better movie role than “Agent Number 4.” Or Waldemar Torenstra, who plays himself, as a first-class horny self.

As a film, ‘Ron Goossens, Low Budget Stuntman’ is highly anecdotal. Later on, no one will talk about the story itself, but they will remember one-liners (“I’m really keilam!”) and jokes. That’s what the makers seem to be primarily aiming for. Another effect that follows from this is that you can feel the film is that the makers most likely had a lot of fun making it. Just writing such an absurd film would have been a party in itself, which was later capped off with being allowed to produce ‘Ron Goossens, Low Budget Stuntman’. That, combined with the celebrities and sometimes really good jokes, that ‘Ron Goossens, Low Budget Stuntman’ will survive just fine as a cult film.

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Review: New Kids Turbo (2010)

New Kids Turbo (2010)

Directed by: Steffen Haars, Flip van der Kuil | 85 minutes | comedy | Actors: Steffen Haars, Flip van der Kuil, Huub Smit, Tim Haars, Wesley van Gaalen, Nicole van Nierop, Ruud Matthijssen, Bart de Rijk, Daan van Dijsseldonk, Rene Eljon, Chung Hwa Chao, Ad van Kempen, Frank Lammers, Hans Teeuwen, Patrick Stoof, Theo Maassen, Jaap Spijkers, Rutger de Bekker, Henry van Loon, Harrie van Rijthoven, DJ Paul Elstak, Jody Bernal, Peter Aerts, Annemieke Aalderink-Bakker

When the first sounds of Luv U More by Paul Elstak blast over the opening scene, the tone is immediately set, and for the entire duration of ‘New Kids Turbo’ you are more of a resident than a spectator in Maaskantje in Brabant. Entirely as expected, the film opens, like so many of the series’ episodes, with Richard and Robbie – the couple’s two greatest friends – working on the now well-known sports field in their village, a decent taste in beer brands and all kinds of standards and values ​​are negligible. One by one, the other retarded friends – Gerrie, Barrie and Rikkert – also turn up, and the plot, or whatever plot must go on, can begin. A film version cannot rely on just a few successful and less successful jokes within a non-existent storyline alone. ‘New Kids Turbo’ therefore presents a situation that offers the rest of the film, through accumulations of improbable escalations, the opportunity to work towards a Flodderian climax that has gotten out of hand. Due to a more or less coincidental coincidence, all five friends lose their jobs in one day. Richard and Robbie are quite rightly accused by their supervisor, a short role by Frank Lammers, of falling short in their work, so they can pack their things. Rikkert is sent home from work by one of many other Brabant contributors (Hans Teeuwen) from the point of view of cost savings, and Barry is also struck by the recession. Finally, Gerrie turns out to be completely incapable of his job when he drills the fork of his forklift into a pallet of televisions without incurring an ounce of guilt.

In addition, the gentlemen do not exactly have their personal affairs in order, so that they are forced to stay together in Richard’s house. There they manage to fill the days with converting benefits into fireworks, bakpao sandwiches and improper stocks of Schültenbrau, until the monthly income turns out not to be enough to maintain that lifestyle. At five they went to the municipality to ask for more money from an unlucky official, which in turn results in them completely forfeiting their entitlement to benefits. And logically decide not to pay for anything anymore. That goes well for a while, but eventually causes them to get into a fight with bailiffs, mustachioed agents, Peter “The Dutch Lumberjack” Aerts, and even the Ministry of Defense and a small army of agents from the Mobile Unit. Indeed, this is where the story starts to show strong similarities to ‘Flodder’. A seemingly unavoidable destination, after an extremely entertaining journey that leads past a lot of absurd, clumsy and downright blunt hilarity – as we are used to from the individual sketches. According to good tradition, few bystanders are safe from the mischief of the five, and in addition to a number of now well-known villagers (“Who is the snack bar here?”) this time also Reinout Oerlemans, Jody Bernal and the good taste of every Brabant and Don’t suffer from Brabant.

“It will come as no surprise to anyone that this film is not going to win an Oscars.” “The story isn’t too strong, and just serves to let the absurd characters play their part.” And of course the quote that already pops up in the trailers: “Nobody touches Maaskantje!” A selection of a number of possible expressions that will appear in reactions and reviews, which actually tell as little as the film itself, let alone add something to your expectations. In the end, it does not all need to be described in detail. And ‘New Kids Turbo’ just works because the series also works, and the film adaptation of Steffen Haars and Flip van der Kuil’s friend project that got out of hand is little more than a series of episodes that have run out of control. That requires the necessary mental delusion, but with a playing time that stays under an hour and a half, it is easy to sustain. And why does the series work? Because sometimes you want nothing more than to look at a bunch of retarded idiots, who in their best accent and with great pleasure and conviction make themselves, each other, and the whole of Brabant immortally ridiculous. Guilty pleasure, dude.