Holly Mae Brood
Mel Bandison
Overview
Self-proclaimed ethical hacker Mel Bandison's life is turned upside down when she stops a data breach on a high-tech self-driving bus that also happens to shut down an international criminal network. She then becomes a target and is framed with a deepfake video that “shows” that she murders someone.
Cast
12 people
Reviews
5 min readThe Takeover: A Hacker’s Parable with a Glitch in Its Code
I’ll admit it: I went into The Takeover expecting a slick, if forgettable, Dutch thriller about hackers and corporate espionage. The premise—ethical hacker Mel Bandison stumbles into a criminal conspiracy, gets framed by a deepfake, and must outrun both the law and the mob—sounded like the kind of high-stakes, low-nuance story that thrives on adrenaline but fizzles on repeat viewings.
And for the first twenty minutes, that’s exactly what it delivers: a brisk, competently shot chase through Amsterdam’s neon-lit canals, with Holly Mae Brood’s Mel darting between servers and shadowy figures in a way that feels more Mr. Robot lite than The Girl with the Dragon Tattoo. But then, about halfway through, something strange happens.
The film stumbles into a moment of genuine unease, and for a brief stretch, it almost feels like it’s grappling with something real.
That moment comes when Mel, cornered in a data center, realizes the deepfake framing her isn’t just a tool of the criminals—it’s a weaponized version of her own work. Earlier in the film, she brags about using deepfakes to expose corrupt politicians, calling it “ethical hacking.” Now, the same technology is being used to destroy her. It’s a neat, if heavy-handed, irony: the tools of liberation become the tools of oppression.
For a few minutes, The Takeover seems to be asking a question that’s more interesting than its plot: What happens when the systems we build to fight power are turned against us? It’s the kind of question that lingers, the kind that makes you wonder if the film might actually have something to say.
But then, just as quickly as it arrives, the moment passes. The film lurches back into action mode, with Mel sprinting through Amsterdam’s streets, dodging bullets and bad guys in a sequence that feels lifted from a dozen other thrillers. The problem isn’t that the action is poorly executed—it’s that the film seems to forget its own premise.
Audience Opinions
"A Dutch crime thriller with strong lead performances but uneven execution."
Viewers appreciate the chemistry between the leads and the film’s stylish approach to its crime-thriller premise. latestnetflix.com's read is that however, some find the plot predictable and the supporting characters underdeveloped, leaving the movie feeling less impactful than its potential suggests.Coverage is sparse, making consensus difficult to gauge.
What viewers praise
- Strong lead performances Holly Mae Brood and Géza Weisz deliver compelling performances that anchor the film.
- Stylish visuals The film’s aesthetic and tone are praised for elevating its crime-thriller genre.
Common complaints
- Predictable storyline The plot follows familiar crime-thriller tropes, limiting its originality.
- Underdeveloped supporting cast Side characters feel thinly sketched, reducing the film’s depth.
Recommended for
Dutch crime thriller fans Holly Mae Brood admirers Stylish indie film lovers
Buzz & Rumors
Public reportsNetflix’s The Takeover (2022): A Dutch Crime Thriller with a Star on the Rise
The Takeover (2022), directed by Dutch filmmaker Annemarie van de Mond, is a high-octane crime thriller that landed on Netflix with a cast of familiar faces and a lead performance that’s turning heads. Starring Holly Mae Brood as Mel Bandison, the film blends action, police procedural elements, and a gritty edge—though its reception has been decidedly mixed. latestnetflix.com's take is that here’s what we know about the making of the movie, its cast, and the buzz (or lack thereof) surrounding it.
A Director with a Knack for Genre-Blending
Annemarie van de Mond, born in 1962 in Haaksbergen, Netherlands, has built a career directing and assistant-directing across Dutch cinema and select international projects 
. While The Takeover leans into crime and thriller territory, van de Mond’s filmography reveals a director comfortable with genre-hopping. Her 2018 romantic comedy Just Friends earned a modest 5.7/10 on SensCritique, suggesting she’s no stranger to polarizing material . With The Takeover, she doubles down on tension, delivering an 87-minute sprint through Amsterdam’s criminal underworld .
The film’s runtime—just under 90 minutes—positions it as a tight, no-frills thriller, though some critics argue it could’ve used more depth. Its SensCritique rating of 4.5/10 (from 148 votes) hints at a lukewarm reception, with viewers likely split between those who enjoyed its pace and those who found it lacking in substance .
Holly Mae Brood: The Breakout Star?
https://www.youtube.com/watch?v=ZRNyWiSHXaE
If The Takeover has a standout, it’s Holly Mae Brood as Mel Bandison. Clips and fan reactions online suggest Brood steals the show, with one YouTube video even labeling her the “#showstealeractress” . While the evidence doesn’t confirm whether Brood’s performance was the result of a career-defining role or simply a strong turn in a flawed film, her visibility in the project has clearly resonated with audiences.
https://www.youtube.com/watch?v=eAItNH4C1k4
Brood’s co-stars include Géza Weisz and Frank Lammers, both familiar faces in Dutch cinema. Lammers, in particular, brings a seasoned presence to the film, though the evidence doesn’t specify his role or whether it diverges from his usual tough-guy archetype . The rest of the ensemble—Susan Radder, Noortje Herlaar, Walid Benmbarek, and others—round out the cast, though their individual contributions remain largely unremarked upon in the available snippets.
Netflix’s Gamble on a Mid-Tier Thriller
https://www.youtube.com/watch?v=KutXTcm-s3Q
The Takeover arrived on Netflix with a trailer that promised action and intrigue, but the platform’s decision to pick it up feels like a calculated play for genre fans rather than a bid for awards buzz . The film’s premise—a crime-fueled power struggle—isn’t groundbreaking, and its mixed reception suggests it won’t be remembered as a streaming standout.
https://www.youtube.com/watch?v=k9AH8Zx8VVE
One oddity in the evidence is a YouTube video labeling The Takeover as a “Blaze Studio Crime Series” and tagging it as a miniseries . This appears to be a misclassification; the film is a standalone feature, not a serialized project. Whether this was a marketing misstep or a simple error remains unclear, but it’s a reminder that even straightforward titles can get lost in the noise of online promotion.
The Verdict: A Solid Cast in a Forgettable Film?
The Takeover isn’t a disaster, but it’s not a must-watch either. Its 4.5/10 rating on SensCritique suggests it’s a passable thriller for those craving 90 minutes of crime drama, but it lacks the depth or originality to leave a lasting impression . Holly Mae Brood’s performance might be the exception, offering a glimmer of something more compelling in an otherwise by-the-numbers package.
For fans of Dutch cinema or van de Mond’s work, it’s worth a look—if only to see how she handles the shift from romantic comedy to crime thriller. For everyone else, it’s the kind of film that’s easy to forget, even if the trailer makes it look like a bigger deal than it is.
Entertainment rumors and trivia aggregated from public reporting. Treat speculation as unverified unless a cited source confirms it.