The visual effects in "Hollow Man," created by Tippett Studios of Berkeley, deserve mention. When Bacon discovers that Shue is bedding a fellow scientist (Josh Brolin), his madness isn't confined to Brolin: Instead, he turns mass murderer and targets each member of the research team.
There's no logic here in the conventional sense, just Verhoeven logic and the broad, Wagnerian emotions that come with it.
But like most of Verhoeven's movies, including the giant-bug thriller "Starship Troopers," "Hollow Man" also has defi nite camp value - the ability to astound us with its trash dialogue, lurid plot twists and total obliviousness to its own wretchedness. Verhoeven's way of regarding women is fetishistic and exploitive, and this film leaves a foul aftertaste. The morning after, he boasts to a co-worker of assaulting the neighbor. He strokes a veterinarian's breast, follows a female lab assistant into the rest room and, muttering "Who the hell is gonna know?" to himself, breaks into a neighbor's apartment. Once invisible, Bacon's libido takes off in every direction. In "The River Wild" and "Sleepers," and even in this nasty little comic book, he exults in the chance to amplify his emotions, to narrow his eyes and make us wonder what this maniac will do next.
HOLLOW MAN 2 TOPLESS SCENE MOVIE
Unlike most movie stars, who want more than anything to be liked, Bacon loves playing a villain. His research team sarcastically calls him "His Highness." When Bacon tells his ex-girlfriend and co-worker (Elisabeth Shue), "We were great together," she corrects him: "You were great. Even before his body disappears and he goes insane, Bacon's character is established as a major creep: cocky, unethical, a bully to co- workers and cruel to animals in his top-secret, Pentagon-sponsored research lab.
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