After FLESH + BLOOD, audiences were thirsty for more of that Rutger Hauer/Jennifer Jason Leigh team. They wanted to see more romantic chemistry from the Hepburn and Tracy of the ’80s. So they got to see him tie her to a truck and… well, it’s even worse than what he did to her in FLESH + BLOOD. And she didn’t fall for him afterwards.
THE HITCHER starts off as a really good horror movie. Atmospheric shots of C. Thomas Howell driving out on the highway, drinking coffee out of a Thermos, trying to stay awake. Looks like he’s been up all night driving. It starts to rain. Maybe out of desperation to stay awake, maybe out of spontaneity, he picks up a hitchhiker, Rutger Hauer. He jokes about how his mom told him never to pick up hitchhikers. But when he tries to ask Hauer where he’s going the weirdo keeps not answering, changing the subject. Every time he does it it gets more uncomfortable. Then he starts talking about murder and dismemberment, making threats, pulls out a switchblade. (read the rest of this shit…)
Paul Verhoeven’s first American-produced (and English language) movie was this knights and swords movie about a group of amoral mercenaries in Europe circa 1501. It’s not a fantasy because there’s no sorcery or dragons and Mako does not narrate. It does have Susan Tyrrell, but she doesn’t narrate either.
When Van Damme got his chance to play twins for the first time of course he took it. But while he was out double impacting the saga of the Sloane brothers had to continue, so they invented a third brother besides Van Damme or the champ older brother whose death in the ring with Tong Po he had had to avenge. They say this new one, David Sloane, is not as strong or fast as his brothers, but has “more heart.” And the movie actually backs that up.
I’d like to call your attention to a review I wrote early last year, of a movie called 
Not since THE HURT LOCKER have I seen a movie that so convincingly captures the mental toll that the pressures of a war zone take on our soldiers. I’m not talking about GI JOE, I’m just saying I haven’t seen another movie like that since THE HURT LOCKER.
When you get to part 3 in a trilogy there’s a big risk of blowing everything. You have to continue with what people loved about the first two but with more risk than before of feeling like we’ve been there, done that. You might need to introduce something fresh, but then you risk the audience rejecting the new shit. But more importantly you just have to make a solid movie, you can’t get lazy or arrogant or lose sight of what your series is about. If you slip up a little bit moviegoers will want your head – it happened with SPIDER-MAN 3, X-MEN 3, GODFATHER 3, BLADE 3, HELLRAISER 3, CHILD’S PLAY 3. It’s alot of pressure, but it’s not impossible. Every once in a while you get a part 3 that really delivers or even improves on the ones before it, like RETURN OF THE KING or REVENGE OF THE SITH in my opinion or HARRY POTTER 3 which is still the best of the series.
Note: I sent this in to Ain’t It Cool last night but they didn’t post it, so what the hell, outlawvern.com exclusive. I’d kind of feel bad posting it there anyway because it’s not a very positive review and I don’t want to bum everybody out. But a man’s gotta do what a man’s gotta do I guess.
A column in 
As a producer and an influence, Judd Apatow dominates the current comedy movie scene. His movies re-popularized the R-rated, filthy-mouthed comedy, they started a much-imitated improvised approach to comedy scenes, his TV shows and movies started or kickstarted the careers of Seth Rogen, James Franco, Jason Siegel, Jonah Hill and others. In a few years he’s completely changed comedy movies, started a few cliches, and gained the inexplicable antagonism of talkbackers.
