Mounting a defense of Paul Verhoeven’s work could not come at a more inopportune moment. At this writing, on the heals of the monumentally indefensible Hollow Man, it is tempting to take as truisms every ill word every written about this man. For if any film merits the adjectives usually hurled at Verhoeven - irresponsible, sexist, cynical, amoral - it is the Dutch director’s latest, no better and in many ways worse than all the other Hollywood turds of the last few years that relied on computer generated effects and multiple faux endings to seduce and sedate its viewers.