Total Recall (2012) Review

Only slightly more buffed and slick, Len Wiseman's "Total Recall" is more of a serious handed, clunky dumb fun, while stripping bare the gleeful moments that perfectly supplanted the Paul Verhoeven's original classic adaptation of Philip k. Dick's short story, "We Can Remember It For You Wholesale" back in 1990 as an extravaganza cheese-fest full of facetious satire. The only upgrade as far as remakes go is the added hundred million dollar budget price that invigorates the film's spectacle in marvelously decorated set pieces, something where reflecting back on the original, clearly shows deterioration as opposed to this beautiful blockbuster. But aside from a studio willing to throw millions on a remake that doesn't raise the bar on quality, it comes off as more non-memorable, mind-numbing eye-candy than a necessary film viewing. Yet, despite an adequate script by Kurt Wimmer and Mark Bomback, it surprisingly retains a sense of wonder and unique directions where the original didn't care to take. 

Wiseman may not seem to care for the plot, which, by the end, goes into auto-pilot to justify a huge circus of state-of-the-art special effects involving a transportation vessel made to travel from one end straight through the earth's core to come out the other, but Len knows how to balance grand, entertaining action set pieces with story that takes a back-seat as soon as Farrell goes to Rekall. Speaking of Farrell, Wiseman instead decided to direct the role of Douglas Quaid as a likable, perplexed individual rather than the humongous brute full of charisma, chewing up scenery with hilarious one-liners. Unfortunately, one can only feel more coldly distant from the main character rather than being invested. Not to say Farrell doesn't try, but with Schwarzenegger's shadow lingering in Farrell's role shows a huge contrast performance wise. Given Farrell's track-record, one can feel he may have been a miscast, as the predecessor left an imprint of outrageous hysteria and confusion, to where Farrell is more subdued and grounded than over-played. 

As in the near future, earth has become a desolate place of tragedy as nuclear warfare has made most of the territories uninhabitable. Now, two regions exist on opposite sides of the earth: The United Federation of Britain and The Colony. As both worlds are shown in huge disparity, where the U.F.B.(Yes, we will use acronyms for this tedious title) is shown in prosperous fashion of wealth and glimmering with hope, while The Colony is a bleak, dirty, crowded ghetto of lost dreams (I'm sure there won't be a huge conflict between them). Douglas Quaid (Farrell) a worker, is coasting through a meaningless existence of routine with his wife, Lori (Kate Beckinsale). He decides to check out Rekall: an escapist fantasy here synthetic memories are given to escape daily reality, but much to his surprise, as he wishes to be a secret agent, turns out to be a real agent (real name being Cole Hauser) and is plundered into a turmoil as Lori is more deadly than she may seem, is out to kill him. He soon comes to a true grip of his identity and his former life. 

As tediously the narrative treads these familiar waters without any flair that made the original such a classic, the craftsmanship given off by cinematographer, Paul Cameron and the production designers are to be commended for actually making use of their budget. Almost every scene taken place in The Colony gives a reminiscent feel of Blade Runner's set, as Farrell leaps from balcony to balcony, soaking in the drenched, tightly constructed narrows of this hell-hole, one can't think but be marveled at the artistry given to such a menial blockbuster. Visually being enthralling and perfectly distracting from the mundane narrative that follows through, Wiseman successfully pulls off a tricky feat; having a fun time that mildly covers the slow-trotting story that in reality, is convoluted. The special effects are dazzling and beautiful to see with each confrontation between Farrell and his supposedly real lover, Melina (Jessica Biel) and Lori with her strong force perusing him at all angles in one captivating scene involving cubicle elevators. But after a while, with all the shiny perfections given to Wiseman's image of the divided and nerve-racking future, not much is salvageable. 

As stated before, Farrell tries to compensate his lack of any screen presence in favor of a level-grounded, serious performance for Cole Hauser, while decently capturing the mass confusion surrounding him but, never expressing true change or acknowledgment of his new life. While surprisingly, the role of Lori is given a lot more attention as Beckinsale, with her strong, vigorous presence. While not being overly muscular but managing to pull of amazing choreographed fight sequences, including one spartan fight between her and Biel's character. Unfortunately, Biel becomes nothing more than a pretty face to tag along with Farrell and not bringing any new depths to a thankless role. Lastly, as many Breaking Bad fans might be disappointed with Bryan Cranston's character being reduced to a typical, standard villain role, as he plays the chancellor of this new world and his desire to acquire more land by invading The Colony of its weak inhabitant. While desperately giving off fumes of villainous charms to a character written poorly only perpetuates the idea of his role being interesting. 

While spectacle and sheer enjoyment are a priority for Wiseman and company, one can't feel but a sense of no urgency or importance as the script offers less thrills and excitement in favor of dazzling effects and set pieces as a substitution. Whether or not Verhoeven's adaptation holds well enough for modern audiences to enjoy, there was more innovation in the craftsmanship and the structure as Quaid was more the focal point than the special effects (which are still unbelievably amazing). At least Wiseman doesn't try to imitate Verhoeven but makes a remake that can stand well enough alone.At least it's admirable in that department, for what it's worth. 

Rating; C by Amritpal Rai