On the way, he falls in with Andreeke (Peter van den Begin), an ex-con who’s also on a road to nowhere and steals for the sake of it. Just for fun, the pair break into Tony’s home while his parents are overseas, but eventually separate when Andreeke decides to go back to running a small bistro.
Still with a major burr under his saddle, Tony poses as an insurance salesman to con a dying old woman, but ends up conned by her. Re-meeting Andreeke, who’s now majorly angry over his eatery going bust, Tony is dragged off to rob a bank, which turns into a High Noon for one of them.
Based on a local bestseller by Tom Lanoye, the movie is essentially about two losers who rail against the bland conservatism of Belgian life but end up hardly puncturing its self-satisfied exterior. Audiences will either tune into the rampant nihilism or reckon it’s small potatoes, but the pic does have some agreeably funny moments in its dialogue and performances, especially by the restrained Crets as Tony, far more of a walking time bomb than his outwardly anarchistic pal.
But the film’s midsection, as the lads carouse hither and thither, does flag, abandoning the impressive opening with its stylish visual design for a less controlled look and content that’s hardly new in ’90s Gen-X cinema. After the hour mark, the movie recovers its offbeat, slightly weird tone, to greater dividends.
Tech credits are OK, though the color in print caught had the sometimes weak look of a blowup from 16mm. Helmer Verheyen, who scored a big local success with his first feature, the teen saga “Boys” (1991), is currently a senior exec with Polygram Filmed Entertainment.