I won’t pretend to be a fan of horror remakes other than Rob Zombie’s Halloween, but when they cast Sean Bean as iconic highway madman John Ryder in the inevitable second lap of Robert Harmon’s horror classic The Hitcher, I perked up. Bean, like Rutger Hauer in the original, is one of my favourite actors of all time and I had to to see what he did with the character (he pulled out of another contract and jumped a plane just to accept this gig). The good news is.. he lives up to Hauer’s original asphalt angel of death, and I’ll fight anyone who argues. The bad news? The film doesn’t. It’s one of those dodgy, hit or miss Platinum Dunes horror updates (avoid Jason and Freddy like the plague, but their first Leatherface incarnation is quite good) and really misses out on the atmospheric, haunting pace of the first, where nightmares and reality blend into the mirages appearing on the desert horizon for lone motorist Jim Halsey… the thing is, here Jim isn’t alone at all but travelling with his girlfriend and that takes some of the primal fear out of it. Zachary Knighton fills C. Thomas Howell’s shoes and a surprisingly adept Sofia Bush plays the gal, on a road trip for spring break when they’re suddenly tormented by Bean’s Ryder, an intense creation by the actor that carefully avoids any callbacks or mimicry of Hauer. How could he though? Rutger made that role his own and Bean wisely does the same with a sardonic, smouldering aura all his own, and wins a spot in horror pantheon as a worthy update on this boogeyman of the backroads (he’s also better than Gary Busey’s kid was in that god awful sequel that no one wants to admit was even made). Everything here gets a torqued update, from the infamous body tied between two trucks scene (yuck) to the car chases (that Trans Am tho) to the violence itself, to legendary highway super-cop Lt. Esteridge, trading in cucumber cool Jeffrey DeMunn for hilariously hammy Neal McDonough, who kills it as the only officer who isn’t a bumbling moron. But who needs all that sound and fury when you’re trying to throwback to an atmosphere classic? I guess go your own way, but it really doesn’t do the Hitcher legacy any justice. Aside from Bean who elevates his scenes to horror greatness, it’s a slapdash, needlessly gruesome slice of knockoff cash grab slasher fare that takes everything that was spooky, shadowy and mysterious about the first one, shines a big broad daylight aesthetic on it that shakes off the cobwebs we never wanted gone in the first place, like Bon Jovi trying to cover a song by The Cure. There is, however, one moment that gets it right and rises to a level of quality deserving of the Hitcher brand. It’s right at the end, everything has gone haywire, all the cops are dead, all the cars have been thoroughly blown up, and Ryder makes one last dash to escape. Sofia Bush takes up a dead cop’s shotgun and musters one final confrontation with him, as the score by Steve Jablonsky swells to adrenaline heights and we get an exchange of dialogue between the two, both beautifully delivered, that is the first shred of originality the film displays and almost, *almost* redeems itself. Where was that for the previous eighty five minutes? In any case, this holds a spot in my heart simply because I’ve watched it enough times and has crystallized into something nostalgic, which as we all know sometimes supersedes what we know is quality from that which we know is not. Worth it for Bean, the score and that supersonic final scene.