There’s something refreshingly honest about Dutch cinema’s approach to genre filmmaking. While Hollywood tends to overcomplicate its buddy cop comedies with excessive explosions and forced quips, director Gonzalo Fernández Carmona’s Almost Cops strips the formula down to its essential components.
The film centers on Ramon, a Community Service Officer (BOA) in Rotterdam whose earnest dedication to upholding his late father’s police legacy gets tested when he’s paired with Jack, a bitter detective demoted after his partner’s murder. What makes this pairing particularly intriguing is the Dutch law enforcement structure itself – BOAs occupy a unique middle ground between civilians and police officers, possessing certain enforcement powers but lacking the full authority of their uniformed counterparts.
This creates an interesting dynamic where our protagonists must solve crimes while operating within bureaucratic limitations that would make even the most patient viewer want to tear their hair out. Carmona uses this setting to explore themes of justice, family legacy, and institutional corruption while maintaining the comedic tone that keeps Rotterdam’s gray streets from feeling oppressive.
Character Arcs That Feel Lived-In
The buddy cop genre lives or dies by its central relationship, and Almost Cops understands this fundamental truth. Ramon’s journey from by-the-book idealist to someone willing to bend rules for justice feels earned rather than manufactured. Watching him grapple with his father’s heroic legacy while confronting the messy reality of modern policing creates genuine dramatic tension.
Jack’s arc operates as a mirror image – his bitterness and cynicism slowly giving way to renewed purpose through his partnership with Ramon. The film’s smartest narrative choice lies in making Kevin’s murder personally meaningful to both characters; as Ramon’s half-brother and Jack’s former partner, his death creates shared grief that transcends their personality differences.
What impressed me most was how Carmona handles the investigation plot. Rather than relying on convenient coincidences or exposition dumps, the mystery unfolds through character-driven discoveries that feel organic to their respective skill sets. Ramon’s community connections and Jack’s investigative experience complement each other naturally, creating a partnership that feels functional rather than forced.
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The film tackles themes of corruption and institutional failure without becoming preachy, instead letting these heavier elements emerge through the characters’ personal stakes. However, the pacing occasionally stumbles when balancing comedic beats with dramatic revelations, particularly in the third act where the tonal shifts feel less seamless than the film’s earlier moments.
Comedy That Walks the Tightrope
Almost Cops faces the challenge every buddy cop comedy encounters: how to mine humor from serious situations without undermining the stakes. The film’s approach feels distinctly European in its willingness to let awkward silences breathe and allow physical comedy to develop naturally.
The mismatched dynamic between Ramon and Jack generates laughs through their contrasting approaches to law enforcement rather than relying on rapid-fire banter. Some of the film’s funniest moments emerge from the bureaucratic absurdities of their limited authority – watching them attempt to conduct serious investigations while technically being glorified parking meter attendants creates a unique brand of situational comedy.
The visual gags work particularly well, especially during chase sequences that feel more grounded than typical action-comedy set pieces. There’s a delightful sequence involving an electric bicycle pursuit that demonstrates Carmona’s understanding of how to stage comedy within realistic constraints. However, the film occasionally struggles with tonal consistency, particularly when attempting to balance its goofier slapstick elements with moments of genuine danger.
The use of profanity and mature content feels appropriate for the characters and setting, though it sometimes appears to exist simply to justify the film’s rating rather than serving the story. Cultural humor translates surprisingly well for international audiences, though some of the bureaucratic jokes may resonate differently depending on viewers’ familiarity with European administrative culture.
Performances That Elevate Familiar Material
Jandino Asporaat brings genuine warmth to Ramon without falling into the trap of making him a bumbling fool. His comedic timing feels natural, and he manages to convey the character’s earnestness without making him insufferable. What’s particularly impressive is how Asporaat handles Ramon’s dramatic moments – when the character confronts uncomfortable truths about his father’s legacy, the performance carries real emotional weight.
Werner Kolf provides an excellent counterbalance as Jack, delivering a performance that’s more subtle than typical buddy cop fare. His portrayal of grief and cynicism feels authentic rather than performative, and his chemistry with Asporaat develops convincingly throughout the film.
The supporting cast adds texture to Rotterdam’s criminal underworld without feeling like cartoon villains. Carmona’s direction maintains steady pacing while allowing his actors room to breathe, creating performances that feel grounded in recognizable human behavior. The cinematography captures Rotterdam’s urban landscape effectively, using the city’s architecture to create a sense of place that feels distinctly European.
Action sequences are competently staged if not particularly innovative, though they serve the story’s needs without overwhelming the character-driven elements. The editing maintains good rhythm between comedy and drama, though some transitions feel abrupt during the film’s more intense moments. Production values feel professional throughout, creating a visual experience that never distracts from the story being told.
Full Credits
Director: Gonzalo Fernandez Carmona
Writers: Kenneth Asporaat, Michel Bonset, Murth Mossel
Producers and Executive Producers: Marjon van der Meijden (Line Producer), Karina van Tol (Head of Production at Kaap Holland)
Cast: Jandino Asporaat, Werner Kolf, Florence Vos Weeda, Mark Rietman, Juliette van Ardenne, Ferdi Stofmeel, Stephanie van Eer, Ergun Simsek
The Review
Almost Cops
Almost Cops succeeds as comfort food cinema – it's familiar yet satisfying, predictable yet charming. While it doesn't revolutionize the buddy cop genre, Carmona crafts an entertaining experience that benefits from strong central performances and a refreshing European sensibility. The film's willingness to embrace bureaucratic absurdity while maintaining genuine emotional stakes creates something that feels both recognizable and distinctly its own.
PROS
- Authentic chemistry between lead actors
- Clever use of Dutch law enforcement structure
- Well-paced blend of comedy and drama
- Grounded action sequences
- Genuine emotional core
CONS
- Predictable plot progression
- Occasional tonal inconsistencies
- Limited innovation within genre conventions
- Some forced comedic moments
