Ruud Vos

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Favorite films

  • C'mon C'mon
  • Get Out
  • The Elephant Man
  • Nebraska

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  • On Her Majesty's Secret Service

    ★★½

  • American Fiction

    ★★★★

  • Robot Dreams

    ★★★★½

  • Origin

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  • On Her Majesty's Secret Service

    On Her Majesty's Secret Service

    ★★½

    Savalas is excellent as a hands-on Blofeld, and I’m very enamoured with Diana Rigg. Lazenby is nothing more than fine.

    But I can’t be made to care for this story or for the underwhelming action. I saw a better version of the skislope thing in Robot Dreams earlier this week, and that might be my least favourite part of that movie.

    So, Bond uses the title of this film as a form of code to not have to get into detailswith…

  • American Fiction

    American Fiction

    ★★★★

    It’s hard to pull off being this smart and this silly within one movie. And it definitely helps to have a cast like this, with some severely good acting chops and playing it straight. I wish there were more comedies like this one.

    I especially like the ending, where I’m not sure anything is really resolved, and still it feels like the story is finished. American Fiction doesn’t let itself become the thing it’s lampooning, while clearly giving it a big nod.

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  • Sweet Dreams

    Sweet Dreams

    ★★★★

    When a Dutch movie shows a distinct stilistic hand, I just turn on. And despite picking it apart, the film also kind of revels in its setting of Dutch colonialism, which adds a sharpness.

    Soutendijk is just on fire. Her selfsatisfied smirk is a wealth of comedic potential and this movie finds it. If anything, it would have been nice if she didn’t disappear into the background for a bit. But at least Lisa Zweerman gets to take over and showcase her talent for a bit. Hayati Azis pulls out a charismatic resting bitch face that says ‘move over, Aubrey Plaza’.

  • The Banshees of Inisherin

    The Banshees of Inisherin

    ★★★★½

    During the entire movie I couldn’t help thinking this is all maybe just a couple islands away from Father Ted

    It is admirable how brutally McDonagh forces an unchangeable character to deal with stuff changing in his life, and he has no control over any of it. It’s not quite his Book of Job movie (like A Serious Man and Silence are for the Coens and Scorsese), but it is a fine practice run for one. If he has one in him… we’ll see.

    Best way to start my film year. I didn’t expect this level of melancholy, but now I can’t shake it off.