Aug 07, 2012
The remake of Total Recall never escapes the shadow of its Arnold Schwarzenegger-led predecessor and, strangely, it feels like a choice. With a script that’s nearly beat-for-beat the original film, Total Recall plods along with enhanced special effects that bring to life an expansive sci-fi world and action scenes constructed to send eyes flipping backwards into skulls. Filling the cracks of the fractured film is a story that, without knowledge of the Philip K. Dick adaptation’s previous incarnation, is barely decipherable. Those who haven’t seen Paul Verhoeven’s 1990 Total Recall? Time to get a few memory implants. 2012 Recall makes little sense with the cinematic foundation, but it does zero favors to those out of the know.
Colin Farrell takes over duties from Schwarzenegger as Douglas Quaid, a down-on-his-luck factory worker hoping to escape his stagnate existence with a boost from Rekall, a company capable of engineering fake memories. Quaid calls the damp slums of ”The Colony” home (one of two inhabitable parts of Earth), but he dreams of moving to the New Federation of Britain, a pristine metropolis on the other side of the planet. When the futuristic treatment goes awry ? caused by previously existing memories of our blue collar hero’s supposed past life as a secret agent ? Quaid emerges from Rekall with lethal power hidden under his mild-mannered persona. He quickly goes on the run, escaping squads of soldiers, robots, and his assassin ”wife,” Lori (Kate Beckinsale) all hot on his tail. Total Recall turns into one long chase scene, as Quaid unravels the mystery of his erased memories.
But when it comes to answers and heady sci-fi, Total Recall falls short. Farrell isn’t a hulking action star like Schwarzenegger, but he’s a performer that can sensitively explore any human crisis, big or small. Director Len Wiseman (Underworld, Live Free or Die Hard) never gives his leading man that opportunity. Farrell makes the best of the films occasional slow moment, but the weight of Recall’s mindf**k is suffocated in a series of fist fights, hovercar pile-ups, and foot chases pulled straight out of the latest platformer video game (a sequence that sends Quaid running across the geometric rooftop architecture of The Colony looks straight out of Super Mario Bros.). When Jessica Biel as Quaid’s former romantic interest Melina and Breaking Bad’s Bryan Cranston as the power-hungry politico Cohaagen are finally woven into Farrell’s feature length 50 yard dash, it’s too late ? the movie isn’t making sense and it’s not about to, regardless of the charm on screen.
The action is slick, and the futuristic design is impeccable, but without any time devoted to building the stakes, Total Recall feels more like a HDTV demo than a thrilling blockbuster. The movie’s greatest innovation is the central set piece ”The Fall,” an elevator that travels between the two cities at rapid speed. The towering keystone of mankind is a marvel, but we never get to see it, explore it or feel its implications on the world around it. Instead, it’s cemented as a CG background behind the craze of Farrell shooting his way through hoards of bad guys.
Science fiction more than any other dramatic genre twist demands attention to the details. New worlds aren’t built on broad strokes. But Total Recall tries to get away with it, in hopes that audiences will recall their own movie knowledge to support its faulty logic. The movie repeatedly prompts viewers to think back to the 1990 version, with blatant fan service that’s absolutely nonsensical in this restructured version (no longer does Quaid go to Mars, but there’s still a three-breasted alien?). The callbacks may have given Total Recall a ”been there, done that” feel, but rarely is it coherent enough to get that far. By the closing credits, you’ll be struggling to remember what you spent the last two hours watching.