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.
Rutger Hauer plays Martin, the sort of leader of a rowdy group of soldiers who, betrayed by their captain, set out for revenge and riches. While burying a stillborn baby they find a buried statue of Saint Martin, so they take it as a sign from God and carry the statue around with them, travelling in whatever direction his sword ends up pointing. (read the rest of this shit…)
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.
Part 3 is from 1987 (nine years after part 2) and it ups the ante even more. This is a great series because each is inventive and doesn’t just follow the formula of the previous one. This one opens with an outstanding standalone scene about a woman giving birth in the back of a cab. A cop is trying to help but as soon as he sees the baby he pulls out his piece and starts firing. Next we see police investigating a church where the baby crawled to die. They talk about the off screen corpse at the end of the trail of blood – more of the expertly staged unseen-mutant-baby that’s the trademark of the series. “It took four bullets to put this thing down,” one of them says. 
