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Reviews (80)
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F
A long walk of death. A very perverse spectacle, so much impressive widescreen action, Peckinpah movement inside the frame is incredible throughout, just to make everything feel more rotten. One of Peckinpah’s nastiest movies and certainly the best of his post-Alfredo Garcia ones.
79 1 -
M
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B
Poetry of military violence The great Peckinpah movie, in which he was able to pull off his favorite stunts on the biggest scale. The film is incredibly captivating to watch. The confrontation between Schneiner and Stransky is fascinating. The directing and acting are incredible. Steiner reminded me of the protagonist in Kathryn Bigelow’s The Hurt Locker. Both characters are addicted to war and cannot imagine their lives outside the battlefield. It was interesting to rewatch this film for the first time since 2013, when I took a more conscious approach to Peckinpah’s work.
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M
For a guy whose bread and butter was violent, grimy, cynical films, you’d think Peckinpah would’ve been more partial to war movies. Yet, Cross of Iron (1977), which came late in his career, remains his only excellent one. A rare bird for its time, Cross is a film told from the Germans’ perspective as they hastily retreat from the onslaught of the Russian army in the waning days of WWII. James Coburn plays Steiner, a grizzled NCO who’s become numb to both the war and the cause for which he’s fighting, and whose only goal is to get his platoon home safely. Meanwhile, Stransky, an overambitious, self-obsessed Captain played by Maximilian Schell, arrives from his cushy post in France and…
359 9 -
B
Sam Peckinpah’s bleak World War II drama takes the rare approach of framing the narrative from the German perspective. This is a boots-on-the-ground perspective as James Coburn is the leader of a ragtag platoon of German soldiers who’re stuck defending an outpost in the middle of a Russian forest. Beat down and exhausted, Corporal Steiner (Coburn) becomes disillusioned with his role in the conflict. This is further exacerbated when his platoon falls under the command of a new leader, Captain Stransky (Maximilian Schell), a cowardly, backstabbing leader who’s more concerned with attaining the Iron Cross than protecting his men. The Russian front was a hellscape, and there’s no better director to depict it than Sam Peckinpah. Peckinpah had built his…
130 5 -
T
“Cross of Iron” brings Sam Peckinpah’s poetry of the broken loner to the most desolate place of all; the front lines of battle. “Cross,” which Orson Welles deemed his favorite anti-war film since “All Quiet on the Western Front,” depicts the failing assault of German troops on Russian territory in 1943. Shot in Yugoslavia on a budget so small Peckinpah had to reach into his own pockets to pay for crew members, “Cross” still retains an epic emptiness that’s standard for the best works in its genre. By focusing the narrative on enlisted troops, Peckinpah has reason to linger in the mud and guts. These were the men whose bodies were paving the path of the collapsing German push eastward……
258 27 -
D
Corporal Rolf Steiner (James Coburn) is done with war. He’s especially done with the Nazi party and authority. Stransky (Maximilian Schell), his new Captain, arrives to take over his platoon and he’s not impressed. Stransky is a wealthy aristocrat in the real world and knows nothing of battle. During an intense fight with the Russians, Steiner gives it his all, but is severely wounded. Stransky hides in his collapsing bunker. After all the dust settles, Stransky wants Steiner to lie about his battle prowess so that he can receive an Iron Cross. Steiner says hell no and soon finds himself and his men endangered by his weaselly and cowardly captain. This is Sam Peckinpah’s last film. It took me awhile…
171 3 -
M
Remember that scene in Predator featuring Arnie and his squad of muscles (and Hawkins) decimating a guerilla compound that goes on forever? Well, this movie is pretty much two hours of that, and it has a dude who looks like a hobo Hugo Stiglitz. A vainglorious German Army Captain attempts to sabotage the efforts of Corporal Steiner and his platoon following a failed attempt to secure the Iron Cross award for military bravery during a bloody incursion on the Eastern Front. It’s movie night with the old man, and being his choice he went with a fifty-year-old war movie starring James Coburn because, well, of course he did. Hey, no complaints from me, the man is directly responsible for my…
27 2 -
S
This always reminds me so much of Roeg’s Don’t Look Now, I wonder if Peckinpah saw and liked that movie. Not just in the nightmarish, vision-inflected editing style, which confuses, breaks linear understanding, and teleports us into James Coburn’s character’s psyche, but also the sense of sheer dread and hopelessness communicated through this hell on earth. A dark, loud film made by someone at the end of their rope.
231 7 -
S
War is hell, but war is also inevitability. The inevitability of death and suffering; the inevitability of sacrifice and lies; the inevitably of corruption and ego. Nothing that happens in Cross of Iron comes as a surprise — indeed, in many ways, it is the moments of greatest horror that are the most predictable — but the film is nevertheless shot through with terrible tension, as we await the arrival of what we know must come. The experience of the viewers — the miserable waiting; the looming dread; the grim knowledge that any triumph will be temporary — mirrors that of the weary soldiers in the film. They carry out their duties because they must, but they do so carrying…
98 22 -
C
Still as uneven as ever, but it really does get better every time I watch it. I must have seen this about 10 times now its easily the most re-watchable Peckinpah. Fassbender’s entire acting crew showing up in this puts such a smile on my face.
87 -
G
폭력의 피카소가 그린 게르니카는 이런 느낌일까. 폭력을 행하는 인간은 그저 어린아이일 뿐이다. 전쟁은 그런 어린아이들의 게임에 불과하다. 이런 허무주의적 태도를 바탕으로 전쟁을 비웃는다. 연합군 따위보다 독일군들의 이야기가 훨씬 흥미롭다. 지금까지 본 제일 이상한 전쟁영화일 것이다. 그런데 너무나도 마음을 움직인다. 초반부 병원에서의 몽타주와 후반부 동요 씬들은 여전히 놀라운 연출들이다. 제임스 코번은 명배우다.
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N
Co-adapted by Julius Epstein, James Hamilton and Walter Kelley from a Willi Heinrich novel ‘The Willing Flesh’ and directed by Sam Peckinpah (Ride the High Country, Major Dundee, The Ballad of Cable Hogue, Straw Dogs, The Getaway, Pat Garrett and Billy the Kid, Bring Me the Head of Alfredo Garcia, Convoy), ‘Cross of Iron’ chronicles the trauma and treachery of war through the mind and grit of a German Corporal trying to survive a reality dark enough to drive any…
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L
Gritty antiwar film with a whiff of class conflict depicting the front line soldier. James Coburn and Maximillian Schell are spectacular. Loved the scene where two common soldiers mockingly quote Friedrich von Bernhardi and Carl von Clausewitz and its juxtaposition to the scene patrician officer portrayed by Maximillian Schell in love with being a soldier. Senta Berger was captivating. Save for Wells, Fellini, and Tarrantino, Peckinpah got no respect for this gem.
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D
My second Peckinpah film, and I must say this was some real gooood cinema. The emotional beats hit me so hard. The direction, editing, (omg the editing was the strongest part of this film) and sound design. All reinforce the themes of the absolute insanity of war. You really feel Steiner going more, and more insane as the film progresses. At the end of act 1, and the start of act 2. Steiner is wounded in a defence against a…
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C
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J
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E
Vielleicht hab ich diesen Film “zu spät” gesehen, da ich ihn zwangsläufig mit anderen ähnlich gelagerten Filmen, vergleiche. Und da reiht sich ‘Steiner’ irgendwo im Mittelfeld ein. Der Film beginnt vielversprechend, die ersten Minuten, eine Kontrastierung der Leben im Krieg von einfachen Soldaten und den Oberbefehlshabern unterlegt mit “Hänschen klein”, hat mir sehr gefallen. Was dann folgt, eher weniger. Schon die Besetzung einiger Figuren mit Amerikanern hat mich ins Grübeln gebracht und auch ähnlich wie etwa bei “Operation Walküre” nicht…
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S
Sam Peckinpah brought his nihilistic and violent filmmaking style to the warfront only once with Cross of Iron. One of the most visceral depictions of war that you will see on film, its methodical pacing and uncomfortable scenes will likely turn off some. But for fans of Peckinpah and war films, its well worth watching. Corporal Steiner is war-hardened and jaded, as Germany is on the verge of retreat. But when the achievement-driven Captain Stransky is shipped over from France,…
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E
I liked Cross of Iron. I found it interesting because it had a good range of characters and some intense scenes that made me feel uneasy. I also think it had a good take on an anti-war film, showing how brutal and disturbing war can be rather than making it seem heroic.
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T
BAD LUCK TERMINAL SYPHILIS
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M
Anything with James Coburn and James Mason gets an extra half star
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SSanjuro57 8 月 8, 2026
Of a piece with many other war movies like paths of glory. Very bleak but nazism is more the background than forefront, but the bookends are sure to bring it all home. Strange to think of this movie as being the same year as a bridge too far
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C
Steiner… is a myth. Men like him are our last hope… and in that sense, he is a truly dangerous man. THE WILD BUNCH of WWII movies Peckinpah just has this incredible way of using typical genre conventions (regardless of the genre) while also dismantling those same conventions
1 -
D
Very good ww2 movie with a compelling plot and cast and very solid action
1 -
T
If there’s ever a war in slow motion, id be quite the weapon🥈🇾🇪 Absolutely fantastic. Suspense, effects, message, music, I’m in awe throughout the whole film. Yes, even when his winky got gnashed off. Insultingly underseen
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J
So, this American film, directed by red-blooded American Sam Peckinpah, spends its running time focused on a squadron of merry Nazi soldiers and their battlefield exploits. American actor James Coburn plays the main protagonist Nazi, who’s a slightly more honorable Nazi. The central conflict is between Nazi-Coburn and the new, more Nazi-like commander who transfers in. But at least they only kill Russians in this… The movie would only be weird if they killed Americans.
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DDonaldMcDuck 8 月 5, 2026
„And I’ll show you where the Iron Crosses grow.” Greatest opening credits in maybe any movie ever and a brilliant, cynical and darkly comedic ending.
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I
Не так давно на мене справив враження фільм «Das boot” 1981 – впершу чергу тим, що це був фільм від німців про другу світову в якому, відповідно, німці не були клішованими тупими «фріцами», а людьми зі своїми переконаннями та переживаннями. Не всім симпатизував уряд, проте багато хто з них були людьми честі на відмінну від тих образів, які були сформовані моїм пострадянським культурним середовищем та маскультурою вцілому. Вчергове після таких роздумів переконуєшся в тому наскільки ж є убогим свято «побєди»,…
4 -
M
Actually this was made specifically for me
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H
A strange one to watch in a modern context, it wasn’t until about halfway through I remembered what year it came out and realised its about Vietnam. Prior to that I thought the Americanization of the Wehrmacht… strange, and while it is still a little off I can see the idea behind it more. Coburn is quite good, but the film itself is a little overlong and meandering. Shout out to costume design for making all of the characters in…
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B
they are still bad
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T
Unsurprisingly this film doesnt sit right. Humans need to be represnted as humans, show me people are complex and the difficult context of the situation so I can walk through the dark forest to experience a revelation. But the writers are lying. This film shares the “clean werhmacht” lie, that the atrocities of the entire German army are pushed onto the Nazi party’s fanatics and the old Prussian army aristocracy. What bollocks, those who were executed cant counter nor deny…
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G
Perhaps the only American WWII movie I’ve seen to date which didn’t look like Hollywood WII style theme park. I’ll be watching Band of Brothers next and it would be a shame if the only good movie which came from that country will have a German for a protagonist. Fingers crossed. Almost fucking jumped during the hospital scene when a Dean Norris look-alike general walked in.
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S
9/10 Un grand film de guerre antimilitariste par le grand Peckinpah, forcément le film est un chef-d’oeuvre, un de ces films qui ne vieillit pas et qui se revoit toujours avec autant de plaisir, et vu son sujet c’est pas évident. Film de guerre donc, avec des passages grandioses, des explosions dans tous les sens, des cadavres de partout, des gerbes de sang au ralenti, Peckinpah quoi, mais le film est aussi une sorte de lutte des classes, la gueguerre…
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Rrandy2themax 8 月 2, 2026
Edifying stuff. Gotta find more time in the schedule to watch Real Movies.
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T
There is always that one extra-evil Nazi who can’t help but ruin it for the rest of them! War really is hell, no matter the angle, side, or slow-motion perspective you look at it.
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S
It was there
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N
Una meravella anti bèlica de Sam el Sangriento. És tot el que està bé, la recordo de la meva adolescència amb mun pare i el meu profe de català en un dvd de merda que es veia en prou feines.
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H
Peckinpah does WW2 but from a Nazi perspective… on paper it sounds brilliant but ended up only being moderately engaged by this. His trademark slo-mo violence is well utilised in conjuring up a vividly chaotic backdrop and theres some interesting detours …a soldier gets his cock bitten off.
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M
I liked this, and I thought it had some very good moments – like the hospital hallucination scene and the scene with Russian women’s corps. But it was scattered with some battle scenes that were a little uncoordinated, and not in a way that demonstrates the chaos of war but rather a mish-mash of various images. I thought it looked really good though and I loved the grime and dirt.
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L
Old war movie with an interesting perspective of ww2. 1st half kind of slow building, 2nd half cooks with plot twists and interesting ending. Good acting and good connection with characters. The battle scenes could’ve been better but for the time they are solid. I liked that they were constantly being shelled by artillery even while just talking in the bunkers.
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G
The first film is ever watched from the perspective of the “Enemy” A very heavy Anti War film Directed by Sam Peckinpah the master of gun battles and slow motion explosions (see the wild bunch) I do wonder if this film is a reaction to all the war films of the 50/ 60’s that seemed to ignore pretty much the destruction of Western Europe and deaths of millions of people. Cross of iron sits more with the new war films we have today like all quiet on the western front and Dunkirk in the message it’s telling us Anyways Good film this.
6 1 -
A
This is the the best possible case for a film made by / meant to appeal to the “guy a little too into WWII history.” Yes it leans heavily on the myth of the clean Wehrmacht but it does so in a far more convincing context, after the Battle of Stalingrad has created an unstoppable contradiction in the Reich’s mythic army and the realities of war. Peckinpah’s formal decisions and his unrelenting portrait of the frontlines make up for some…
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C
On par with come and see, they didn’t use live ammunition but those tanks were real!!! I’d like to thank the Yugoslav Peoples Army for being so generous about all of the equipment on set
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A
2023 commentary with Mike Siegel on the Studio Canal 4K
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A
2023 Studio Canal 4K
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S
plenty of classic films have captured the lamentable loss (All Quiet on The Western Front) and inherent unjust nature (Paths of Glory) of war. these influences run deep. however, Cross of Iron sets itself apart by being furiously miserable about the whole affair, that it happens at all, depicting the inevitable horrors with mocking contempt. sam peckinpah’s cynicism and the harsh editing were perfect choices for a movie that hates its own existence. i’m going to be thinking about the demarcation scene for a while.
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D
considerado por muitos um dos maiores filmes de guerra da história, e eu concordo.
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N
As one of my favorite war films, I truly believe it firmly deserves 4 out of 5 stars. Despite minor historical inaccuracies—such as certain songs used out of context or Czechoslovakian armor standing in for Soviet tanks—Cross of Iron stands as a masterclass in war cinema. The film excels in capturing the mental anguish and psychological dualities of conflict, boldly stepping away from mid-century tropes by humanizing the enemy rather than reducing them to mere caricatures. Backed by raw performances—heightened by cast members who were themselves veterans—Peckinpah flawlessly conveys the mud, grime, and relentless trauma of the Eastern Front with brutal authenticity.
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L
An solid classic rewatched in 4k today and it did it total justice 💪
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S
If Sharpe was in the Wehrmacht. A lot to admire about this movie, there are fantastic bits of filmmaking peppered throughout. The hospital sequence using nothing more than simple photography edited into contrasting shots is awe inspiring in how unsettling and effective it is. Likewise certain dialogue scenes just crackle with the tension between characters all beautifully acted. However the intention to achieve a frenetic traumatic incoherency to aid the story, tips over into unfocused narrative whiplash all too often.…
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AArtylo 7 月 27, 2026
Frankly, ‘bored’ is the word I’d use. Not just for myself, but the film as a whole. It just can’t sit still. Not without devolving into tens of minutes of faux philosophical musings, intercut with brief (admittedly technically and visually impressive) sequences of practical explosions and tanks, dirt flying everywhere, shaking cameras. Ok, that woke you up a little bit– Here’s some avant-garde surrealism, undercut ever so slightly with some racy dialogue and just some lite objectification of women. Just…
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C
Drama belic, rodat per Sam Pechkinpap (grupo salvaje), tot un contrasentit, la roda com un western, amb un exces d escenes beliques, pero s en surt be a base dels personatges tant principals con secundaris. Te un fort missatge antibelic, i humanitza els soldats, la seva destruccio com a persones i simplement acaben lluitan pels seus companys Critica les classes priviligiades militaristes, en que la guerra te objectiu pel seu benefici i la seva inutilitat e hipocrossia (capiita STansky) Frase epica: “Que haremos cuando acabe la guerra??? Preparar la proxima” Per desgracia es aixi, la guerra es negoco
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C
Os aristocratas e os oficiais só se importam com as condecorações. Até o mais vil dos atos será justificado como sendo só um ordem que foi seguida. Um filme muito intenso, não sei direito o que pensar. A violência é o dialeto da guerra, e nesse filme se fala assim. Os homens vão sendo moídos, lutando por ideologias que eles desconhecem por uma terra longe que nem receberá seus cadáveres. No final é um jogo por uma cruz de ferro.
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L
” don’t you know how much i hate this uniform and everything it stands for? ” this movie is long, bleak, and trippy. my favorite things! ive never watched a peckinpah film before this one, but now im intrigued! this film is very underrated and i think deserves more attention. i might even read the book that its based on, because the fight between individuals and egos rather than ideological forces is a very unique approach to a war movie, to me…
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L
Do you believe in God, Sergeant? I believe God is a sadist, but probably doesn’t even know it. Some occasional stiff acting and a little excessive on the explosions imo, but the message remains very poignant. Also starts off a little too slow for my liking, but once the gritty, hyper-cynical gears get turning, it doesn’t let up until the credits roll. Visceral moment when Steiner finally unloads the Papasha, and Krüger leaps like a savage warrior to secure the kill with that German bayonet. Hoorah!
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L
Could be Peckinpah’s prettiest film, at least out of the 4 I’ve seen. The thick mist and dreary pale green look gorgeous, almost in a very Pacific Northwest sort of way. The action scenes, interspersed with gorgeous slow-motion moments, are as dynamic, captivating, and harrowing as ever. It’s easy to tell that Peckinpah’s direction was incredibly matured by this point in his career, except there is a very important piece of the puzzle missing. It’s not American! Peckinpah’s ideals and…
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J
Peckinpah brings his ultra-violent style to the war front, in what would end up being his only film set during WWII. It’s a style that works well, showing the true destructive nature of war. Similar to The Wild Bunch, he takes us along with a group, and it’s that group dynamic that makes this work. You can feel a real sense of brotherhood between Steiner and his platoon, which makes the ending all the more heartbreaking. In many ways, the…
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A
Even a good deed remains pointless and meaningless in the chaos of war
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I
talvez o maior filme de guerra já feito.
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S
koja sila od filma, kako dobar scenario i kakva tri goata tri različite glumačke kulture: džejms kobern, maks šel i… ummmm… slavko štimac? stvarno jedna ozbiljna polemika o simbolici, koja je ovde u središtu pažnje ne samo zbog tog prokletog iron crossa nego i sveopšteg prožimanja tog pojma kroz život oko nas. sve je simbol što ti vidi oko, sve što dušu tvoju i vedri i mrači, simbol je i zemlja, i nebo visoko… lepo je to sažeo vojislav ilić,…
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P
Meaty, gritty, ass-kicking, pure 70s drive-in fodder.
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K
All Quiet on the Western Front, But Bad. Let’s start with the positives. The film poster is really cool. Many shots in this film were visually quite effective, I had overall a positive impression from the combat sequences. I think the premise of this film has potential, but in this case, it was not executed well, and I walked away disappointed (though not surprised). I have not read the book it is based on and thus cannot comment on that.…
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N
Coburn très grand
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C
La edición durante las escenas de batalla son una locura, la atmósfera sucia y caótica está muy bien conseguida, la trama no me enganchó al inicio, pero terminé re manija esperando la muerte del prusiano garca.
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C
Borderline exploitative with consistently bizzare stylistic choices but undeniably compelling.
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K
War bad.
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S
Boy that Eastern Front sure looked unpleasant.
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F
Jusque là chez Peckinpah c’est le plus impressionnant et sans doute l’un des films les plus anti-militariste.
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M
I expected more from Sam Peckenpaugh, but that was not my major issue-either do the accent or don’t. James Colburn cannot do a German accent James Mason cannot do a German accent DaviD Warner can Maximilian Snell can pick a lane. and then the rest of the movies a lot of shit blowing up. it distracts me from the core of the movie, which is the conflict between Snell and Colburn. You know you’re not doing a good job if…
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B
All Extremely Noisy on the Eastern Front. One of the most war is hell pictures I’ve seen. Signature Peckinpah mayhem. Extraordinary number of explosions per minute, ketchup leaping from wounds, lightning fast editing and woozy transitions evoking the psychological no man’s land smoking in ruins between the ears of the characters. Occasionally the uproar will pause long enough for the enlisted men and noncoms to bond over what pigs the brass are, and for the brass to scheme fresh ways…
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C
Brutal anti-war film with an impressive international cast. James Coburn and Maximilian Schell are polar opposites, the former trying to ensure his platoon survive while the latter is trying to ‘earn’ his Iron Cross. Relentless shelling, tanks, gunfire and soldiers running in all directions really takes it out of the viewer, it really does seem pointless. Which is the point.
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M
Tanks.
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JJules Neuman 7 月 19, 2026
When it comes to Hollywood and horse racing, it’s best to have the blinders on. It sure helps with Peckinpah’s antiwar film, starring cornhusker James Coburn and English muffin James Mason as Nazis fighting on the Russian Front – fighting the Russians, the war machine, their superiors, and their aristocratic Prussian commander looking to steal himself some valor. Peckinpah’s macho sentimentalism ups the ante on All Quiet on the Western Front, as it is not just the enemy, but fascists…
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C
Like all of Peckinpah’s best work, this is a movie about the cross-section of masculinity and violence. A film, that at its core, is about lonely men who only know cruelty, who inflict misery on themselves and others, because of the indifference from those in positions of power. It’s only once those in power reveal their truest nature, that these lonely men are finally allowed to transcend. The violence these men inflict on others starts as something that brings them immense joy, but soon after becomes a barometer for the morality of war and their place in it. Peckinpah’s last truly great film.
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Wworkintherain 7 月 19, 2026
“…und wenn man es so sieht, ist er wirklich ein sehr gefährlicher Mann.”
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D
A tad uneven but the huge practical battle scenes look awesome and the ending is pretty effective
3 -
P
Watched the German Open Matte 35mm scan. Quite gruesome and realistic portrayal of the war field. Peckinpah’s directorial vision and style are all over this thing. It’s raw, dirty and unapologetic. Really loved the editing and his signature use of slow motion here. Also, James Coburn is such a perfect cast. His emotional acting just brings a whole another level of earthiness and melancholy to this picture. Very important and challenging piece of cinema.
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H
Le rire final de James Coburn résonne en écho avec le regard de conclusion de Requiem pour un Massacre. Évidemment l’absurdité de la guerre, la boucherie, la vacuité de ceux qui y cherchent la gloire, mais surtout la marque indélébile imprimée sur l’âme humaine.
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- Synopsis
- It is 1943, and the German army—ravaged and demoralised—is hastily retreating from the Russian front. In the midst of the madness, conflict brews between the aristocratic yet ultimately pusillanimous Captain Stransky and the courageous Corporal Steiner. Stransky is the only man who believes that the Third Reich is still vastly superior to the Russian army. However, within his pompous persona lies a quivering coward who longs for the Iron Cross so that he can return to Berlin a hero. Steiner, on the other hand is cynical, defiantly non-conformist and more concerned with the safety of his own men rather than the horde of military decorations offered to him by his superiors.
- Director
- Sam Peckinpah
- Writer
- Julius J. Epstein, James Hamilton, Walter Kelley, Herbert Asmodi
- Studio
- Rapid Film, EMI Films, Terra-Filmkunst, Alex Winitsky / Arlene Sellers Productions
- Country
- Germany, UK
- Language
- English, German, French, Russian
- Year
- 1977
- Runtime
- 133 mins
- USA11 May 1977
- UK10 Feb 1977
- Ireland25 Feb 1977
- Japan17 Mar 1977
- Finland08 Apr 1977
- Netherlands21 Apr 1977
- Denmark25 Apr 1977
- USA20 May 1977
- Norway24 Jun 1977
- Sweden26 Jun 1977
- Colombia15 Sep 1977
- Italy16 Sep 1977
- Turkey01 Nov 1977
- France18 Jan 1978
- Mexico26 Jan 1978
- Spain01 Mar 1978
- Portugal29 Sep 1978
- Hong Kong05 Feb 1982
- Belgium26 Aug 1982
- Czechia01 Oct 1993
- Czechia24 Jun 2002
- Netherlands09 Sep 2011
- Netherlands11 Sep 2013
- Netherlands11 Dec 2002
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