Hollow Man

Release Date: Aug 6th, 2000

Cast :

Director: Paul Verhoeven 

Filmmakers use their movies in an attempt to tackle psychological, social or “what if” questions, by giving vision to their ideas and observations.  Whether it be improbable examples of fate, or just fantasies and dreams personified, movies can be a true exploration into the true depths of who we are, what we do and why we do the things we do.

“What would you do if you knew you couldn’t be seen”?

“It’s amazing what you can do when you don’t have to look at yourself in the morning”

These are two interesting aspects human nature, which Hollow Man wants to tackle and analyze.  The first teases at the exploration of being somewhere without being seen. This is a temptation that exists in all people, whether we admit it or not; to see things that we normally would not.  How many times have you wanted to be a fly on the wall in a meeting?  How many guys have dreamed, or even fantasized, about what goes on behind those female locker/dressing room/bedroom doors. The second heads in a slightly darker direction, focusing on what a person would truly do, were they not held completely accountable for their actions.  Would it be a carte blanche free for all? Or would the real person inside us truly come out.  The potential existed for an insightful exploration into who we are and why we do what we do.   Unfortunately, those two observations, plus my analysis, have more thought behind them, than the entire script of Hollow Man. 

The film takes the idea from the James Whale classic, The Invisible Man.  It teases at the ideals mentioned above, modernizes things by use of some impressive visuals, then regurgitates a festival bad lines, movie cliché’s and ultimately, a cop-out typical Hollywood ending.    The plot centers around a team of scientists, working with government funding on genetic research.  Their focus is to manipulate the genetic makeup, in order to make living things invisible.  Similar to the Nutty Professor 2, of all movies, the formula has yet to be tested on humans, only animals.  Against the wishes of some, the serum’s developer, Bacon, decides to use it on himself.  From this point on, is the movie loses steam. The aspect of how genetic alteration can affect mental stability seemed to be the focus, but the result lacks any kind of insight, resorting to violence, in lieu psychological insight.   Of course there is the past love (Elizabeth Shue) now involved with a co-worker (Josh Brolin), which will come back into play.  This, along with other plot developments, is foreshadowed in a painfully obvious manner, so that anyone in the audience will understand when they inevitably return once Bacon begins disappearing, both physically and mentally. In the past, Paul Verhoeven has tapped into the effects of using modern technology to improve and expand on aspects of the human psyche.  Examples of this are Total Recall, where the power of dreams is explored, and Robocop, where technology is used to help gain revenge for the main character.  Those films worked because the story and plot were interesting and innovative.  In lieu of utilizing the potential that exists here, Verhoeven falls victim to typical plot devices and cheesy, insincere lines.  Some of which are even repeated in case the audience didn’t get them the first time around.

The visual effects alone are almost enough to warrant a viewing of the film, its just too bad that the writers couldn’t come up with a better story to support it. The scenes involving the injection of the serum to reappear, and the use of water, fire, steam, and other common sense things to make Bacon visible are truly masterful and worthy of praise. The first half of the movie shows potential, despite the poor writing.  However the second half of the movie degrades in proportion to Bacon’s sanity, and the movies potential disappears just as fast.  It cascades into a horrific finish involving chase scenes and senseless violence, while abandoning any previous plot ideas.  The invisible factor is used to give the concluding chase scenes an interesting twist.  The plot falls prey to every psychotic killer chase film cliché, right down to the false death scene.  It is sad to see a movie with so much hope, fade so quickly from sight.

The performances are nothing outstanding, and are for the most part examples of actors doing the best with what they are given. Bacon is more a presence and voice than anything else, and at that, he succeeds. The qualities of his character are more a reflection of the effects department than anything else. Shue over reacts repeatedly, and shows absolutely none of the ability that she displayed in Leaving Las Vegas. The jury's still out on whether that one was a flash in the pan or not, nothing since then has proven otherwise. The rest of the cast, including Zero Effect's wonderful Kim Dickens, disappear from sight along with the stories sensibility and intelligence.

Ultimately, Hollow Man, a perfect example of cinematic irony. It is meant to be a movie about the fear of what we can’t see, but can sometimes only hear and sense.  The end result is a film that should be seen for the visuals it presents, but ignored for the words and sounds that emanate between.  The visual mastery is nice eye candy, but the dialogue and plot degradation are cruel and unusual punishment.  Had the movie explored the roads that were teased at with even a reasonable amount of intelligence, this could have been a truly captivating summer surprise.  Instead it is another example of good effects and good potential, diffused by bad writing.  Let this one disappear from theaters before viewing it. ($$ out of $$$$)

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