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Paul Verhoeven is a Dutch film director, screenwriter, and producer who has made movies in both the Netherlands and the United States. Explicitly violent and/or sexual content and social satire are tr
2004 1h 28m R. 3.6 (25K) Rate. Video. In the sequel to Paul Verhoeven's loved/reviled sci-fi film, a group of troopers taking refuge in an abandoned outpost after fighting alien bugs, failing to realize that more danger lays in wait. 12.
Paul Verhoeven. "Paul Verhoeven PhD (physics) has, it seems, always been fascinated by voyeuristic sex, even in his earlier Dutch films such as Turkish Delight (1973), The Fourth Man (1979) and Spetters (1980). However, after arriving in the US on a tide of dollars, either he or his producers had the bright idea of replacing the sex with ...
May 19, 2022 · Paul Verhoeven is undoubtedly one of the most transgressive artists ever to have been a major Hollywood player; a genius satirist and a master craftsman of spectacle; a pervert with never-ending interest in sexual mores and a populist who makes grand action extravaganzas designed to be enjoyed by all; a funny man who deals with the most serious of social subjects.
Takový je Paul Verhoeven, hitmaker, narozený v Amsterdamu v Nizozemí, kde vystudoval univerzitu Leiden zaměřenou na fyziku a matematiku. Už na počátku 60. let začal ve své rodné zemi točit filmy, ale upozornil na sebe (i když ne moc) až ke konci toho desetiletí seriálem Floris. Svůj první americký film natočil v roce 1985 ...
Jun 1, 1990 · Total Recall: Directed by Paul Verhoeven. With Arnold Schwarzenegger, Rachel Ticotin, Sharon Stone, Ronny Cox. When a man goes in to have virtual vacation memories of the planet Mars implanted in his mind, an unexpected and harrowing series of events forces him to go to the planet for real - or is he?
Nov 30, 2021 · 17. Hollow Man (2000) Verhoeven ended his Hollywood residency not with a bang, but with a sigh. Hollow Man was neither big enough or weird enough to provoke a wrathful response from the likes of the Razzies, but time has nevertheless been far less kind to the film than to Verhoeven’s other U.S. assignments, especially with regard to the curiously unfinished quality of its visual effects.
