Fans of Paul Verhoeven's Hollywood create resolve be amazed beside this garish Dutch pleasing on the teen pic. Punctuated with graphic scenes of straight and gay sex, played to the overworked hilt and deliriously overstylised, it owes its greatest beholden to Rainer Werner Fassbinder as a trilogy of grunge-bike dreamers strive to emulate their motocross hero, Rutger Hauer. Meanwhile, hot-dog seller Renée Soutendjik seeks to tempt anecdote of them into delivering her from dead-end hell. You name it, Verhoeven nails it, whether it's religious fanaticism, homophobia, small-town ennui, media manipulation, naked energy or solely apparent adolescent concupiscence. This is bumpy and unrepentant.
With his intensity and direct views about doctrine, sex and violence, Paul Verhoeven every now seems less a filmmaker and more a duress of type. Dismissed in some quarters as an oversexed, gore-obsessed debauchee, a quick look at Verhoeven's cock's-crow pictures reveals that there is certainly some method to his preposterousness. And while his Dutch films can be as bloody and libidinous as his advantage-known American movies, Spetters - since some, the highlight of his European livelihood - proves that a well-to-do sense of humour and a keen understanding of character prowl behind the exaggerated showman's leaning of prodigality.
Spetters (the title ruthlessly translates as "Hotshots") is far less contrived than Verhoeven's recent offerings. A gritty blend of soap op...
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