Nestled in the heart of Michigan, Holland is a real town, yet the setting feels more like a theme park than a slice of Americana. In this puzzling thriller, Nicole Kidman takes center stage, bringing her usual charisma to a project that ultimately stumbles in execution. Directed by Mimi Cave, Holland is currently streaming on Amazon Prime and beckons viewers into its quaint yet bizarre narrative—a journey that many may find leaves them scratching their heads.
At first glance, Holland suggests a predictable path—a high-concept thriller where the idyllic town belies a darker underbelly. With a sunny aesthetic reminiscent of the Epcot Center’s Dutch-themed attractions, one might expect characters to glide melodiously through their existence. However, as protagonist Nancy Vandergroot—portrayed by Kidman—whispers about her life feeling like a dream, viewers are led to anticipate some shocking reveal, akin to the twists found in Don’t Worry Darling or The Stepford Wives. Yet, audiences will be disappointed if they expect any substantial plot unveilings; while there is a twist, it falls flat, merely serving to deepen the film’s already perplexing vibe.
One of the most glaring issues with Holland is its inconsistent tone. Cave’s previous work in the cannibal thriller Fresh showed hints of satire that never quite coalesced. In Holland, the disjointed execution leaves the actors floundering in their roles. Kidman’s portrayal of Nancy strikes a bizarre balance of childlike naiveté while turning suspicious detective. Her husband, Fred, played by Matthew Macfadyen, embodies a powerful blankness, his performance teetering on the edge of bland. Meanwhile, Gael García Bernal steps in as Dave Delgado, Nancy’s confidant, attempting to reflect her bubbly innocence but falling victim to the jarring tonal shifts within the script.
Brought to life by Andrew Sodroski, Holland originated as a noteworthy script on Hollywood’s Blacklist, once generating buzz for its potential depth and intricacies. There are traces of a Coen Brothers signature in the amateur detective escapades of Nancy and Dave—echoes of films like Fargo and The Man Who Wasn’t There. Yet, Holland lacks the control and wit those films exemplify, serving instead as a meditation on the complacency of suburban life. Unfortunately, the presentation feels more like an excuse for Nancy’s state of mind rather than a meaningful exploration.
As viewers traverse the sun-soaked landscape of this Pleasantville-esque world, an unsettling lack of depth permeates the narrative. Cave’s direction, combined with Sodroski’s dialogue, fails to probe beneath the surface of Nancy’s seemingly idyllic life. We’re left devoid of insight into her psyche—what drove her to this safe existence, and whether she is genuinely content or merely numb. Kidman’s admirable ability to convey diverse characters shines through, yet even she cannot salvage a storyline that seems lost.
Holland ultimately becomes an enigma, leaving audiences to ponder what the filmmakers truly aimed to convey. If one seeks a dark, revealing thriller set against the backdrop of small-town charm, they may find themselves utterly confounded. With Kidman continuously pushing boundaries in Hollywood, it appears she may move swiftly on to brighter prospects. Perhaps in her upcoming projects, we’ll see her free from the disarray that Holland embodies.
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