Sparkle Review

Rated PG-13 (Mature Thematic Content involving Domestic Abuse and Drug Material, and for Some Violence, Language and Smoking)

Running Time: 1 Hour & 56 Minutes

Cast-

Jordin Sparks-Sparkle Anderson

Whitney Houston-Emma Anderson

Carmen Ejogo-Tammy 'Sister' Anderson

Tika Sumpter-Dolores Anderson

Derek Luke-Stix

Mike Epps-Satin Struthers

Omari Hardwick-Levi

Thomas DeCarlo Callaway/Cee Lo Green-Black

Curtis Armstrong-Larry Robinson

Directed by Salim Akil

"Sparkle" marks Whitney Houston's fifth and final film performance before she tragically passed away in February.

'If I should stay, / I would only be in your way. / So I'll go, but I know / I'll think of you every step of the way. / And I will always love you. / I will always love you. / You, my darling you.' These are the opening lyrics to Whitney Houston's rendition of Dolly Parton's 1974 single I Will Always Love You and if you're one of the few who didn't know that because you were living under a rock, then you should be ashamed of yourself. The song was originally recorded for the soundtrack to 1992's "The Bodyguard," which was Houston's feature film debut and also starred Kevin Costner. Not only did the album go on to sell a record-breaking 46 million copies worldwide but I Will Always Love You became the best-selling single by a female artist in music history. The same cannot be said for "The Bodyguard," which received largely negative reviews with 32% on Rotten Tomatoes. However, it grossed a massive $411 million worldwide, or the equivalent of $671 million when adjusted for inflation. I am not a hardcore Whitney Houston fan but listening to I Will Always Love You always leaves me with goose-bumps. Unfortunately, her career from the late-1990's onward was marked by rumors of drug abuse with her husband Bobby Brown but just when she was about to stage her comeback after her divorce from him, Houston suddenly passed away at the age of 48 in February. "Sparkle," a remake of the 1976 film of the same name, marks Houston's fifth and final film performance but sadly, this is not the proper send-off that she so rightfully deserves. While Houston is solid in her supporting role and the music numbers are beautifully performed, "Sparkle" ultimately fizzles out with its sappy, melodramatic tone and reliance on formulaic soap opera clichés. 

Taking place in 1968, nineteen-year-old Sparkle Anderson (Jordin Sparks) is an aspiring song writer living in Detroit but she avoids taking the stage herself and instead lets her older sibling Tammy (Carmen Ejogo), who goes by the name Sister, perform her music in various nightclubs. The two catch the eye of an up-and-coming music manager named Stix (Derek Luke) during one such performance but he is unable to get their names as they quickly rush to leave. Attending church with his cousin Levi (Omari Hardwick) one day, Stix spots Sparkle and her two sisters but Levi warns him of their strict mother Emma (Whitney Houston). Immediately smitten with her, Stix and Sparkle agree to have Bible study together with her sisters under the supervision of Emma but when she steps out of the house to take care of church business, Sparkle continues to work on her music and song writing. Unbeknownst to her, Stix is still in the house and he overhears her singing. Although Sparkle steadfastly refuses to take the stage, she agrees to Stix's proposal to form a musical trio with Sister as the lead singer while she and middle sister Dolores (Tika Sumpter) serve as backup. Known as Sister and the Sisters, the trio soon takes the nation by storm and Stix eventually gets them a spot opening for Aretha Franklin, bringing them to the attention of Columbia Records. However, Emma does not approve of their new-found fame and forbids them to continue as she fears that they will succumb to the same fate as her. Meanwhile, Sister breaks up with Levi to be with Satin Struthers (Mike Epps), a wealthy comedian who panders to a white audience by making fun of his own race. The two are married but Struthers proves to be an abusive husband and Sister soon becomes addicted to cocaine. Sparkle struggles to keep her family together while trying to realize her own dreams. 

I must admit that I was only made aware of "Sparkle" when I was looking through the release schedule for August but my curiosity was piqued upon learning that this marked Whitney Houston's last performance in a feature film. Although I have not seen the 1976 version directed by Sam O'Steen, I did read up on it beforehand and yes, the main plot has remained largely the same but Salim Akil's remake takes place in Detroit instead of Harlem and the time period has been moved forward by a decade to 1968. The tone was also a lot darker in the original. Written by Mara Brock Akil and Howard Rosenman (who also wrote the original with Joel Schumacher, the one who ruined Batman), "Sparkle" tells a bland and generic tale that explores the same tired clichés of fame being a double-edged sword. However, it also preaches to its viewers to follow their dreams no matter the obstacle, leading to a conflict of interest that will leave audiences confused as to what Akil wants to convey. With its melodramatic tone and forced attempts at earnestness, much of what happens in "Sparkle" feels like a soap opera where future plot points are telegraphed with eye-rolling predictability. 

Characters such as Sparkle are exasperatingly naïve while Sister is just plain foolish, rushing into a marriage with Satin Struthers even though it is plainly obvious that he will be abusive toward her. This lends the film a morbid irony as it mirrors Whitney Houston's own life. A dinner argument hits particularly close to home when Sister tells her mother how she was 'laid up in [her] own vomit' instead of taking care of her daughters and is one of the few instances where the family drama feels grounded. As for Satin himself, he's reduced to being a cartoonish villain and there's even a scene of domestic abuse that ends up being unintentionally comical due to how fake it looks. Akil also fails to communicate a sense of time and place. Yes, the opening title card says 1968 Detroit but it does not feel like 1968. This was a tumultuous time in civil rights history but aside from a few off-handed comments on rioting and a shot of Martin Luther King, Jr. being interviewed on television, there is little to distinguish the time period from today if it wasn't for the impeccable era-appropriate costumes designed by Ruth E. Carter. This just leaves the music numbers and they are all excellently performed, although Akil sometimes focuses a tad too much on his actresses' gyrating hips. These scenes are what elevate the film and yes, Whitney Houston does get her moment to shine when she sings Civilla D. Martin and Charles H. Gabriel's His Eye is on the Sparrow. Houston's vocal ability has certainly diminished in the intervening years but she still sounds better than all the auto-tuned garbage that plagues radio stations today. It's the send-off she deserves but unfortunately, she's surrounded by mediocrity. Jordin Sparks ends "Sparkle" on a high enough note as she belts out One Wing from R. Kelly, making me wish that the film had more of these music numbers. 

The acting from the cast ranges from solid to amateurish. Jordin Sparks (who was the winner of "American Idol" Season 6) may have an amazing voice but her performance consists of only two expressions, which is described by Andrew Barker of Variety to be 'ecstatic well-being or lip-quivering sadness.' Sparks is likable though thanks to her baby face looks but she should stick to singing. Whitney Houston won't be winning any posthumous awards but she's solid as Emma, a strict mother who once had a burgeoning music career but fell victim to substance abuse. Houston draws on her own experiences to give Emma's world-weariness a genuine quality and its clear why she became involved with the project in the first place. Carmen Ejogo makes for a captivating presence but Tika Sumpter is reduced to being the third-wheel in the story, although her character's swagger allows for some amusing moments. Derek Luke tries too hard to come off as earnest while Mike Epps is nothing more than a two-dimensional villain as Satin Struthers. Despite their names being on the poster, Omari Hardwick and rapper Cee Lo Green have only minor roles, with the latter only appearing in the opening scene. 

"Sparkle" was released on August 17, 2012 to mixed reviews with 57% on Rotten Tomatoes. Critics admitted that it was 'undeniably melodramatic and old-fashioned [but the film] transcends its formulaic trappings thanks to Salim Akil's empathetic direction and strong performances from a committed cast'. That's not a statement I'm completely in agreement with but what do I know? The audience at the advance screening I attended on Wednesday reacted positively to the film, with the woman sitting next to me gasping at every plot twist even though you could see it coming a mile away. "Sparkle" faces some tough competition at the box office but it should land in either third or fourth place with $14 million, making back its production budget in one go. There is no doubt that the music numbers are amazing but as a drama, "Sparkle" is a failure. The script is too clichéd and formulaic to make much of an impression despite Whitney Houston's presence and is just not the send-off we were hoping for.

Final Rating: 2.5 out of 5 (an extra 0.5 for the music)

"Wasn't my life enough of a cautionary tale for you?"

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ParaNorman 3D Review

Rated PG (Scary Action and Images, Thematic Elements, Some Rude Humor and Language)

Running Time: 1 Hour & 33 Minutes

Cast (voice)-

Kodi Smit-McPhee-Norman Babcock

Tucker Albrizzi-Neil Downe

Anna Kendrick-Courtney Babcock

Casey Affleck-Mitch Downe

Christopher Mintz-Plasse-Alvin

John Goodman-Mr. Prenderghast

Jodelle Ferland-Aggie

Leslie Mann-Sandra Babcock

Jeff Garlin-Perry Babcock

Elaine Stritch-Grandma Babcock

Bernard Hill-The Judge

Alex Borstein-Mrs. Henscher

Hannah Noyes-Salma

Tempestt Bledsoe-Sheriff Hooper

Directed by Chris Butler and Sam Fell

The fate of Blithe Hollow rests in their hands in LAIKA's latest animated feature, "ParaNorman."

Horror films may be a dime a dozen but classics like "The Exorcist," "Halloween," "Friday the 13th," "A Nightmare on Elm Street," and even "Hellraiser" have sadly become a rarity, replaced by mindless torture porn and formulaic PG-13 fare. After sitting on the shelf for close to three years due to a bankrupt MGM, Drew Goddard and Joss Whedon's "The Cabin in the Woods" was finally released into theaters this past April to overwhelmingly positive reviews (90% on Rotten Tomatoes) and served as not just a love letter to the horror genre but also an indictment on what it has devolved to. Unfortunately, the film's satire fell on deaf ears as audiences felt that they were 'lied' to since they were expecting a generic slasher movie. Still, it managed to become a modest box office success and earned $66 million worldwide. Now, another gleeful send-up to the horror flicks of yesteryear has been released with "ParaNorman," a late-summer animated film from LAIKA Incorporated, who made their animation debut with 2009's "Coraline," based on the horror-fantasy novella from acclaimed British author Neil Gaiman and directed by Henry Selick. Specializing in stop-motion animation, LAIKA was founded in July 2005 and was split into two divisions where one would focus on feature films while the other on commercial work such as advertisements. The studio was supposed to dabble in CG as well with a project titled "Jack & Ben's Animated Adventure" but it was cancelled when a significant portion of its staff were laid off in 2008. Proving that "Coraline" wasn't just a fluke, LAIKA's "ParaNorman" is a charming, funny, imaginative, and even touching horror spoof and is by far the best animated feature this summer. Pixar, you just got served! 

Living in the small New England town of Blithe Hollow with his parents Sandra and Perry (Leslie Mann and Jeff Garlin), and his obnoxious older sister Courtney (Anna Kendrick), young Norman Babcock (Kodi Smit-McPhee) possesses an unusual ability—he can see and communicate with the dead. This frequently causes friction between his parents, with his exasperated father wishing his son was more 'normal' and stop all this talk about ghosts. Branded as a freak at school and a victim of bullying by the larger Alvin (Christopher Mintz-Plasse), Norman resigns himself to the loner life and spends his time watching old zombie movies with his deceased grandmother (Elaine Stritch). One of his classmates, the chubby Neil Downe (Tucker Albrizzi), befriends Norman but trouble looms over the horizon when the town crazy, Mr. Prenderghast (John Goodman), warns of a centuries-old witch's curse that will destroy Blithe Hollow if not stopped. Knowing that his time on Earth is almost over, Prenderghast seeks out Norman and reveals that only he can stop the witch's curse due to his paranormal abilities. When a group of Colonial-era zombies rise from their graves and begin terrorizing the townspeople of Blithe Hollow, Norman must put aside his own fears and save his home with the help of some unlikely allies. 

'You think you know the story.' This was the tagline for Goddard's "The Cabin in the Woods" and similarly, "ParaNorman" looks rather generic judging from the initial previews but that is actually one of the film's greatest strengths as it plays with the audiences' expectations of what they think a zombie flick entails. A surprisingly poignant horror spoof, Chris Butler and Sam Fell's animated film is both hilarious and touching despite its familiar story of an outcast overcoming his doubts and rising up to become the hero. The running time may only be a mere 93 minutes but the film is paced well as it successfully transitions between moments of drama and visual spectacle. While primarily marketed towards children, adults will find a lot to love about "ParaNorman," especially if you're a horror aficionado thanks to its irreverent references to a number of classics such as 1978's "Halloween" and 1980’s "Friday the 13th" but the film is really a homage to George A. Romero's 1968 classic "Night of the Living Dead." Known as the 'Godfather of all Zombies,' Romero imbues each of his zombie flicks with his unique brand of social commentary tailored to the specific time period in which they were released. Butler and Fell use this as their inspiration to create a cautionary tale of what fear can do to people when confronted with a situation that they are unable to comprehend. When someone does not conform to what society perceives as 'normal,' then that person is ostracized and "ParaNorman" explores the affect this can have on someone psychologically. The villains are not the zombies; it is people who are unable to set aside their own prejudices and listen, which many of the characters fail to do and leads to a dangerous mob mentality. This is what makes the film such a success because it puts a new spin on all these horror tropes while exploring some life lessons in a way that feels organic and not preachy. The thematic material will go over most kids' heads but "ParaNorman" will still keep them engaged because it's so damn funny. Most of the comedy is derived from the hilarious interactions between the characters and when combined with the adventure elements, it becomes reminiscent of 1985's "The Goonies." The most memorable character by far has to be Norman's chubby friend Neil. Whether he's threatening to throw hummus, watching his mom's aerobics videos, or just plain stating the obvious, Neil steals every scene he's in and adds to the film's overall fun factor. However, parents should still heed the PG rating as the film does contain some material that might be too intense or even frightening for viewers under age ten. 

Seamlessly blending traditional stop-motion with CG animation, "ParaNorman" looks beautiful with its macabre visuals and the climax is a real stunner as Norman finally confronts the witch. One of the advantages of stop-motion is that it lends every character and object a sense of 'realness' that isn't achievable with CG no matter how advanced the technology is. Disappointingly, the 3D does not add much to the experience and I found the depth to be quite lacking. Taking off the 3D glasses revealed very little blur and the image might as well have been in 2D. Surprising, considering the fact that this is stop-motion and not a pile of pixels. At least there are no brightness issues but that's a given in this day and age. 

While the 3D is black mark on the film's otherwise impeccable visuals, the voice acting from the cast are excellent and they really make their characters come alive. Kodi Smit-McPhee captures all of Norman's insecurities from his sense of loneliness and search for acceptance but also his determination with only his voice. Anna Kendrick shines as well as Norman's vain and obnoxious older sister Courtney and you can almost picture the actress mimicking the body language of her character in the sound booth. Tucker Albrizzi is adorable as Neil while Casey Affleck is virtually unrecognizable as Neil's slow-witted older brother Mitch, who drops a major bombshell at the end that will leave kids puzzled but adults laughing aloud. Christopher Mintz-Plasse is solid as school bully Alvin, although he does not blend into his role as well as the others due to his distinctive voice. The rest of the voice cast includes Leslie Mann and Jeff Garlin as Norman's parents, John Goodman as Blithe Hollow's crazed resident Mr. Prenderghast, and Jodelle Ferland as the witch Aggie.

"ParaNorman" was released on August 17, 2012 to largely positive reviews with 86% on Rotten Tomatoes. Critics hailed it as 'beautifully animated and solidly scripted, [the film] will entertain (and frighten) older children while providing surprisingly thoughtful fare for their parents.' The audience, which was comprised of equal parts adults and children, thoroughly enjoyed the film during the advance screening on Thursday and there was never a dull moment as laughter continuously filled the theater. Given its non-kid friendly subject matter on death and the use of stop-motion, "ParaNorman" won't be breaking any box office records like Pixar or DreamWorks Animation but it should settle into second place with a solid $20 million behind "The Expendables 2." The story may not break any new ground but with memorable characters, gorgeous visuals, and loving references to the classic horror flicks of yore, "ParaNorman" cements its status as not just the best animated film of the summer but also one of the best films of the year, period.

Final Rating: 4.5 out of 5

"There's nothing wrong with being scared, Norman, as long as you don't let it change who you are."

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The Odd Life of Timothy Green Review

Rated PG (Mild Thematic Elements and Brief Language)

Running Time: 1 Hour & 45 Minutes

Cast-

Jennifer Garner-Cindy Green

Joel Edgerton-Jim Green

C.J. Adams-Timothy Green

Odeya Rush-Joni Jerome

Rosemarie DeWitt-Brenda Best

David Morse-James Green, Sr.

M. Emmet Walsh-Uncle Bub

Lois Smith-Aunt Mel

Lonnie Rashid Lynn, Jr./Common-Coach Cal

Ron Livingston-Franklin Crudstaff

Dianne Wiest-Ms. Bernice Crudstaff

Shohreh Aghdashloo-Evette Onat

Directed by Peter Hedges

That Miracle-Gro from Home Depot really works. Look, I grew a kid from the garden last night!

Released a year after the end of World War II in 1946, Frank Capra's "It's a Wonderful Life," loosely based on Philip Van Doren Stern's 1943 short story The Greatest Gift, is a timeless Hollywood classic that has sadly become a rarity as movie studios are more concerned with chasing the almighty dollar in lieu of allowing writers to simply tell good stories. Never descending into manufactured over-sentimentalism, Capra grounds his characters and captures such genuine emotion that you really start to believe that perhaps, just maybe, a guardian angel is 'out there' watching over us. When James Stewart's George Bailey is at his lowest point and is about to commit suicide by jumping off a bridge, I seriously felt tears welling up in my eyes…but I had to contain myself or risk being ridiculed by my classmates (this was during film class). With its themes of unrealized dreams, of being constantly burdened with responsibility and watching the world pass you by, Capra's classic has continued to strike a chord with audiences for over six decades and of course, who could forget Donna Reed as Bailey's ever-faithful wife Mary. Now Reed is the definition of classical beauty, although Grace Kelly and Audrey Hepburn are equally valid choices. "It's a Wonderful Life" truly earns the moniker of being 'magical' but nowadays, we get assembly line schlock like "The Odd Life of Timothy Green" from novelist/writer/director Peter Hedges. Definitely one of the strangest films to be released this summer, "The Odd Life of Timothy Green" has its heart in the right place but its kid-friendly tone often clashes with the adult themes, making this a nauseatingly hollow experience that overindulges in saccharine melodrama to the point where it's liable to give you diabetes (no offense to actual diabetics). 

Told as a story within a story, Cindy and Jim Green (Jennifer Garner and Joel Edgerton), a loving couple living in Middle America in the small rural town of Stanleyville, are told that they are unable to conceive despite exhausting every available medical option. The two try to move on with their lives but a stubborn Jim wants to hold onto their dream for one more night and with his wife, writes down all the attributes their ideal child would have on pieces of paper. They then place the notes in a box and bury it in the family garden. A freak thunderstorm occurs in the middle of the night where the rain curiously pours only on the Green's residence. Woken up by the sound of thunder, Jim goes to close an open screen door and comes face-to-face with a ten-year-old boy covered in dirt and mud! With Cindy now awake as well, Jim and his wife discover a giant hole in their garden, as if something or someone dug themselves up but even more stranger is the fact that the boy standing before them has leaves growing out of his calves. Revealing his name to be Timothy (C.J. Adams), he immediately begins calling the bewildered couple Mom and Dad, claiming them as his parents. Thrust with such a sudden responsibility, Cindy and Jim introduce Timothy as their newly adopted son while hiding his leaves with knee-high socks. Falling in love with a solitary girl named Joni (Odeya Rush), who also has a secret of her own, Timothy begins touching the lives of those around him but it soon becomes clear that his time on Earth is limited. 

A child who was born from a garden due to a freak thunderstorm? Sounds like the beginning of a terrible horror flick but "The Odd Life of Timothy Green" is instead a mawkish melodrama that wants to capture the 'magical realism' that characterized such films like Frank Capra's "It's a Wonderful Life" yet the film just blunders along by relying on a tired formula full of silly clichés. With every scene desperately screaming to its audience 'Are you crying yet?! Are you?!,' the film just reeks of manufactured sentimentalism at every turn, its syrupy sappiness threatening to either make you throw up or roll your eyes in disbelief, perhaps both! Written by Hedges with Ahmet Zappa (son of musician Frank Zappa), the script commits a fatal mistake by having the story unfold through an awkward framed narrative, robbing the film of whatever suspense it could've had. Since Timothy does not appear in the present-day, it's immediately clear his fate is not a happy one. Given all the tree symbolism being thrown around, one can make a pretty accurate assumption as to what happens to him. The initial previews also made it seem like Odeya Rush's Joni held a secret that would play a role in the plot but the reveal (which happens early) is a major letdown and it makes little sense for her to be so moody in the first place given how inconsequential her dilemma is. Such asinine behavior permeates the film as characters are little more than naive caricatures that lack any form of real-world logic. When confronted with Timothy, Cindy and Jim just accept him as their son without asking any questions, as do the rest of their extended family. No one wonders where he came from or has any problem with this child just suddenly standing out in the open with his arms stretched out and his eyes closed while he soaks up the sun's rays like he's Superman. Such moments often end up being unintentionally hilarious and it's hard to take any of this seriously. Timothy even draws a self-portrait of Cindy's boss (Dianne Wiest) at the pencil museum in a scene that's reminiscent of James Cameron's "Titanic"…but only creepier. While I understand that Hedges wants to make a statement on the hardships of parenting and that sometimes it's better to let children be children, none of the emotion ever comes off as genuine. In order to retain its kid-friendly tone, these adult themes have been diluted, where catharsis is achieved without the trauma. The script is packed with subplots such as Jim trying to deal with his absentee father to the economic recession that threatens the survival of the pencil factory where everyone works but wanting the audience to believe that a child like Timothy could 'inspire' everyone to be better versions of themselves is a lot to ask for and therein lies the problem: everything that happens is so calculated to elicit a certain emotion that none of it feels real except for one scene where Cindy and Jim, along with their son, partake in a spontaneous a cappella to War's 1975 song Low Rider. What's worse is that it feels unnecessarily cruel to give Cindy and Jim what they want only to snatch it away at the last minute. While its earnestness is admirable, "The Odd Life of Timothy Green" just tries too hard to be loved but ends up being a shallow film that is far from being 'magical.' Manipulative would be a more appropriate word. 

Since this is a fairy tale, there's little in the way of actual acting but Jennifer Garner understands what kind of film she's in and throws herself into her role with a dimpled smile, mugging the camera with every opportunity. However, Joel Edgerton never looks comfortable and mumbles his way through the dialogue. He's probably asking himself what the heck he's doing in a film like this. As for C.J. Adams, his smile will cause those with mushy hearts to go 'Awww!' but for me, I'll just say that he's a lot less grating compared to most child actors yet he's not playing a character. Timothy exists as nothing more than an excuse to engage in some preachy moralizing. As Joni, Odeya Rush is the brooding girl that happens to be sweet on the inside. Making for a less than compelling bunch, the rest of the cast are written as thinly-developed caricatures. Rosemarie DeWitt is the nosy, competitive mom while David Morse is utterly wasted as Jim's father as all he does is stand around looking stern…and for that he earns a big fat paycheck. Ron Livingston and Dianne Wiest play the money-grubbing town owners and you know this because their last name is Crudstaff. Finally, there's hip-hop artist Common as an angry soccer coach and Shohreh Aghdashloo as a skeptical case worker at the adoption agency. 

"The Odd Life of Timothy Green" was released on August 15, 2012 and has received mixed reviews with 43% on Rotten Tomatoes. Critics found it 'ultimately too cloyingly sentimental—and thinly scripted—to satisfy all but the least demanding viewers.' Mary Pols of TIME magazine even wrote that the film 'made [her] want to go on a sugar cleanse.' I have to admit that if I didn't receive passes for an advance screening, I wouldn't have paid to see this film. Despite the applause at the end, the audience clearly found it silly judging from all the unintentional laughs. As the summer movie season winds down, studios are dumping whatever films they have left before releasing their potential awards contenders in the fall. This weekend is one of the busiest with four new wide releases: this film, "The Expendables 2," "ParaNorman," and "Sparkle." Of course, "The Expendables 2" will top the box office while "The Odd Life of Timothy Green" will likely get lost in the shuffle since its going after the same audience as "ParaNorman," which is earning positive reviews. I commend Peter Hedges for wanting to tell a story that explores the hardships of being a parent and that the reality is always not what we dreamed about but "The Odd Life of Timothy Green" often resorts to mawkish attempts to make you feel emotional. Yea, I was crying all right…from laughing so much!

Final Rating: 2 out of 5

Jim Green: We made lots of mistakes.

Cindy Green: We made mistakes trying to fix our mistakes.

Jim Green: Isn't that what makes you a parent?

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The Bourne Legacy Review

Rated PG-13 (Violence and Action Sequences)

Running Time: 2 Hours & 15 Minutes

Cast-

Jeremy Renner-Aaron Cross/Kenneth Kitson

Rachel Weisz-Dr. Marta Shearing

Edward Norton-Retired Colonel Eric Byer

Stacy Keach-Retired Admiral Mark Turso

Donna Murphy-Dita Mandy

Joan Allen-Deputy Director Pamela Landy

David Strathairn-Noah Vosen

Albert Finney-Dr. Albert Hirsch

Scott Glenn-Ezra Kramer

Dennis Boutsikaris-Terrence Ward

Michael Chernus-Arthur Ingram

Corey Stoll-Zev Vendel

Zeljko Ivanek-Dr. Donald Foite

Oscar Isaac-Outcome Operative #3

Louis Ozawa Changchien-LARX Operative #3

Directed by Tony Gilroy

Jeremy Renner proves that he's cooler than Matt Damon in the spin-off "The Bourne Legacy."

Based on Robert Ludlum's 1980 spy-thriller novel of the same name, 2002's "The Bourne Identity" was a mid-summer sleeper hit that grossed a solid $214 million worldwide while receiving positive reviews from critics with 83% on Rotten Tomatoes. Not only did it transform Matt Damon into an action star but it also kick-started one of the most lucrative and critically acclaimed franchises of the past ten years. Each successive installment earned more than its predecessor, culminating in a pitch-perfect conclusion with 2007's "The Bourne Ultimatum," which went on to win Best Film Editing, Sound Editing, and Sound Mixing at the 80th Academy Awards.  With a total franchise gross of $945 million (unadjusted for inflation), there was little surprise that Universal wanted to keep the money-train going for as long they're able to. A fourth installment with Damon involved did enter pre-production but this project was cancelled when director Paul Greengrass announced in 2009 that he would not be returning as he wanted a 'different challenge.' Damon dropped out as well since he didn't want to do a fourth one without Greengrass at the helm but Universal didn't let that stop them and moved ahead with "The Bourne Legacy," a spin-off written and directed by Tony Gilroy, who has been involved with the franchise from the beginning. Taking Damon's place is Jeremy Renner, whose popularity has sky-rocketed since his critically-acclaimed performance in Kathryn Bigelow's "The Hurt Locker" four years ago. "The Bourne Legacy" does not reach the heights of its predecessors due to an overlong running time and a noticeable lack of action but this 'sidequel' remains a compelling and solid entry in the franchise thanks to a magnetic Jeremy Renner. 

Due to Jason Bourne's actions in "The Bourne Ultimatum" that led to the exposure of Operation Blackbriar, the CIA is thrown into chaos with the arrests of Blackbriar director Noah Vosen (David Strathairn) and Treadstone's training program director Dr. Albert Hirsch (Albert Finney), with a criminal investigation of CIA director Ezra Kramer (Scott Glenn) pending. Putting the agency into damage control mode, retired Colonel Eric Byer (Edward Norton) and Admiral Mark Turso (Stacy Keach) begins to shut down every black ops program with ties to Treadstone and Blackbriar, leading to the deaths of numerous operatives and support staff. Meanwhile, Operation Outcome agent Aaron Cross (Jeremy Renner) has just completed a rigorous training exercise in Alaska and rendezvous with another Outcome agent known only as 'Number Three' (Oscar Isaac), who lives alone in a small cabin out in the wilderness. However, Number Three is killed by a drone sent by Byer, forcing Cross to go on the run and escape to the United States mainland to look for 'chems,' drugs that allow him to retain his enhanced abilities or risk regressing to a lower mental state. A mass shooting occurs at Sterisyn-Morlanta, a drug company that developed the performance-enhancing drugs that all Outcome operatives rely on to function properly. The only survivor of the shooting is Dr. Marta Shearing (Rachel Weisz), whom Cross seeks out in an effort to obtain the medication he desperately needs. The two travel to Manila in the Philippines while Byer and his agents relentlessly pursue them. 

For those who saw DreamWorks Animation's "Shrek" in 2001, you'll recall the titular character famously comparing ogres to onions because both have layers. Like onions, "The Bourne Legacy" features a multi-layered plot from Tony Gilroy (whose credits include 2007's "Michael Clayton") but at times it can get bogged down by too much exposition as the film does double duty by frequently making references to the previous installment while introducing a whole new set of characters. In fact the first hour comes off as muddled and slow-paced due to Gilroy awkwardly cutting back and forth between Aaron Cross completing his training exercise in Alaska and Byer trying to contain the fallout of Bourne's actions. Fortunately, the second hour picks up considerable speed as Cross struggles to deal with his dependency on his 'greens and blues' while trying to discover why he is being targeted. Gilroy expands upon the mythology by revealing that Bourne and Cross didn't just go through behavioral modification to break down their morality but were also genetically altered to make them stronger and faster. However, the operatives from later iterations of Treadstone like Operation Outcome have to rely on drugs to retain their abilities or they would regress. The only way to make these changes permanent is to be injected with a special virus. Gilroy clearly did his homework but although this adds a new wrinkle to the series, it tends to make the plot feel needlessly complicated with a number of characters functioning as little more than mouthpieces for expository plot dumps. 

At 2 hours and 15 minutes, the film is just too long and Gilroy could've tightened up the pacing by shaving off a good twenty minutes without damaging the narrative. There's also a noticeable lack of action due to its dialogue-heavy approach but what little there is manages to get the adrenaline pumping even if it does not reach the heights of its predecessors. There's the obligatory explosion but the highlights include an intense shootout at Shearing's home and Cross demonstrating his lightning fast reflexes as he takes down three security guards without breaking a sweat before capping off with an engaging (albeit long) motorcycle chase through the crowded streets of Manila as police come out of the woodwork while a stone-cold operative (Louis Ozawa Changchien) attempts to kill Cross. The editing during this scene can be too frenetic and lacks the camera-shaking finesse of Greengrass. Disappointingly Cross and this operative do not engage in any melee brawl so no everyday items like pens and magazines being used as weapons! From a cynical point-of-view, "The Bourne Legacy" is little more than a cash-grab and while it should've ended at number three, Gilroy does succeed in justifying another installment by treating the material seriously despite some stumbles with its story. 

The "Bourne" series has always delivered on some excellent performances and Jeremy Renner proves himself to be more than a capable replacement for Matt Damon as new assassin Aaron Cross. Renner handles the killer vibe with aplomb but unlike the more solitary Bourne, Cross is talkative and quite curious, asking questions and trying to glean more information about the situation he's in and the enemies he's facing. Rachel Weisz is equally as compelling as Dr. Marta Shearing, a brilliant researcher and scientist who just happens to know too much but her moments of panic do feel overacted. Cross and Shearing's relationship represents a welcome callback to "The Bourne Identity." Despite spending the entire film looking at a computer screen and barking orders, Edward Norton's Eric Byer is a menacing and unscrupulous villain and it's a shame that outside of a flashback, he and Cross never meet face-to-face. Hopefully, this is rectified in the sequel. Donna Murphy and Stacy Keach round out the rest of the cast and while their roles do not amount to much beyond assisting Byer in hunting down Cross, the two handle all the spy jargon convincingly. Despite their names being on the poster, Joan Allen, David Strathairn, and Albert Finney have what amounts to cameo roles in order to tie into the events of "The Bourne Ultimatum." 

Released on August 10, 2012, "The Bourne Legacy" has received mixed reviews with 51% on Rotten Tomatoes. Critics admitted that the 'it isn't quite as compelling as the earlier trilogy, but [the film] proves the franchise has stories left to tell—and benefits from Jeremy Renner's magnetic work in the starring role.' Although it is poised for a solid $45 million opening weekend debut at the box office, I feel that Gilroy's emphasis on dialogue over action will not be well-received by audiences as during an advance screening, people immediately bolted for the exit once Moby's Extreme Ways began playing. Yes, "The Bourne Legacy" is not as good when compared to what came before but such an expectation is unrealistic. The plot suffers from uneven pacing and too much exposition yet this fourth entry remains a solid espionage thriller with strong dialogue and performances. I dare say that the "Bourne" franchise is in good hands and I look forward to a sequel with Renner.

Final Rating: 3.5 out of 5

"You think that Jason Bourne was the whole story? There's a lot more going on here!"

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The Campaign Review

Rated R (Crude Sexual Content, Language and Brief Nudity)

Running Time: 1 Hour & 25 Minutes

Cast-

Will Ferrell-Camden 'Cam' Brady

Zach Galifianakis-Martin 'Marty' Huggins

Jason Sudeikis-Mitch

Dylan McDermott-Tim Wattley

Brian Cox-Raymond Huggins

John Lithgow-Glenn Motch

Dan Aykroyd-Wade Motch

Katherine LaNasa-Rose Brady

Sarah Baker-Mitzi Huggins

Karen Maruyama-Mrs. Yao

Jack McBrayer-Mr. Mendenhall

Piers Morgan-As Himself

Bill Maher-As Himself

Chris Matthews-As Himself

Directed by Jay Roach

Cam Brady (Will Ferrell) and Marty Huggins (Zach Galifianakis) prepare to duke it out on the political arena in Jay Roach's "The Campaign."

There was such a sense of hope and optimism when Barack Obama was inaugurated three years ago in 2009 and became not just the 44th President of the United States, but the first African American to hold the office. This historic event was watched by millions of people across the country and around the world (with the exception of North Korea) but four years later, public opinion has eroded due to the perception that Obama has not done enough to spur economic recovery. The 2012 presidential election won't take place until November 6th but Obama and his Republican challenger Mitt Romney have been campaigning for the better part of the year. Although our current administration is often hamstrung by partisan politics, Romney strikes me as very arrogant and serves as proof that no matter where you stand on the issues, the way the public perceives you is just as important. This is explored in a highly exaggerated manner in director Jay Roach's R-rated political comedy "The Campaign." Roach is known for helming the "Austin Powers" trilogy and 2000's "Meet the Parents" along with its 2004 sequel "Meet the Fockers" but has since turned his attention toward politics with his two HBO films, 2008's "Recount" which dramatizes the Bush v. Gore case that resolved the dispute surrounding the 2000 presidential election and this year's "Game Change" that focuses on John McCain's disastrous 2008 campaign after selecting Governor of Alaska Sarah Palin (played by Julianne Moore) as his running mate. Politics have always been mined for comedy and "The Campaign" accomplishes this with aplomb by cleverly satirizing the mug-slinging tactics political nominees frequently employ despite failing to break any new ground but the film lacks edge due to its avoidance of any topics that might prove to be controversial for audiences. 

Camden 'Cam' Brady (Will Ferrell) is up for re-election in the (fictional) 14th Congressional District of North Carolina and victory is all but assured as he is running unopposed. However, Brady commits a major political gaffe when a sexually explicit voice message intended for his mistress leaks out to the public after he drunkenly dials a wrong number. A pair of corrupt power brokers, Glen and Wade Motch (John Lithgow and Dan Aykroyd), sees this as an opportunity to rig the election in their favor by funding a candidate who will allow them to build factories in the district and insource the labor from China, thereby saving on shipping costs! That candidate turns out to be Martin 'Marty' Huggins (Zach Galifianakis), a clueless schmuck who runs a small tourism center. Eager to improve the community and seek the approval of his wealthy father, Raymond (Brian Cox), Huggins accepts the Motch Brothers' offer without question. This surprisingly new development prompts Brady to immediately go on the attack by humiliating Huggins during a civility brunch and reducing him to tears. The Motch Brothers send in a tough-as-nails campaign manager named Tim Wattley (Dylan McDermott) to whip Huggins into shape. Brady and Huggins' political rivalry escalates as each resort to ridiculous tactics to gain the upper hand as Election Day draws near. 

R-rated comedies have not enjoyed much success this summer with the exception of Seth MacFarlane's "Ted" but "The Campaign" ends up being a winner because much of what it pokes fun at is unfortunately true. While their party affiliations are only vaguely defined, it's clear that Cam Brady and Marty Huggins are two incompetent buffoons who are able to rile up a crowd but ultimately stand for nothing. Hell, when Brady's campaign manager Mitch (Jason Sudeikis) asks him about the meaning of his catchphrase, 'America, Jesus, Freedom,' Brady readily admits that he does not know but remarks that citizens love hearing those three words. Much of the film is made up of a series of hilarious and increasingly over-the-top vignettes where each candidate desperately tries to out-maneuver the other. The numerous campaign ads are just one of the highlights as Brady tries to convince the public that Huggins is a Muslim due to his bushy mustache while reinforcing his womanizing image by pandering to male voters with images of attractive women. Fighting back on the advice of Wattley, Huggins goes after Brady's neglected son, leading to a crazy scene where Brady seduces Huggins' wife Mitzi (Sarah Baker) and releases the resulting sex tape as a campaign ad! Roach also illustrates Brady's hypocrisy when he badly flubs the Lord's Prayer at a political debate, with Huggins insinuating that he might be a communist by referencing 'Rainbowland' (where everything is free!) from a book he drew as a child, prompting Brady to repeatedly scream out that 'Rainbowland is not real!' While "The Campaign" goes after easy targets like outsourcing (or insourcing as the Motch Brothers call it) and avoids topics that may be too polarizing for audiences, the film exposes an ugly truth about American politics where it doesn't matter what a candidate stands for when he's little more than a mouthpiece for his corporate sponsors. The script from writers Chris Henchy and Shawn Harwell may resort to crass jokes at times like penis-licking goats and masturbating to Drew Carey but it retains a sharp focus with its political satire. The only real flaw is when the story gets in the way of the laughs near the end as Roach clumsily funnels all the characters toward a typical Hollywood happy ending. 

Will Ferrell has always been hit-and-miss for me as a comedian but as Cam Brady, he's a laugh-riot even though his performance plays it safe by borrowing heavily from his George W. Bush routine during his time at "Saturday Night Live," with a dash of Bill Clinton thrown in for good measure. With his high-pitched voice, Zach Galifianakis also falls back onto familiarity as Marty Huggins is only a slight variation of his 'twin brother' Seth Galifianakis. This may be a two-man show but some of the supporting cast provide their share of laughs as well, such as Dylan McDermott as a hard-line campaign manager that gives Huggins a makeover while inserting himself into every part of his life to the detriment of his family. Jason Sudeikis' Mitch is the straight man to Brady and rounding out the cast is Katherine LaNasa as gold-digging Rose Brady, Brian Cox as Raymond Huggins, who longs for the old days of the antebellum South (he has his Asian maid talk in a stereotypical African American accent), and John Lithgow and Dan Aykroyd as the corrupt Motch Brothers. 

To be released on August 10, 2012, there have been relatively few reviews for "The Campaign" but I have a feeling that it might garner a mixed reception as critics may find the jokes too obvious. I saw the film at an advance screening held two weeks prior to its official release and the audience clearly enjoyed it judging by all the laughter in the theater. It won't top the box office due to competition from Tony Gilroy's "The Bourne Legacy" and reigning champion "The Dark Knight Rises" so it's ultimately a tossup between third and fourth place with "Hope Springs" starring Meryl Streep. Although the comedy in "The Campaign" may come off as too softball for those looking for an edgier satire, Roach's film remains a hilariously clever take on our country's wacked-out politics.

Final Rating: 4 out of 5

"You tryin' to trash talk me? Your mama's like a vacuum cleaner…she sucks, she blows and gets laid in the closet. That's what nuts feel like!"

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Total Recall (2012) Review

Rated PG-13 (Intense Sequences of Sci-Fi Violence and Action, Some Sexual Content, Brief Nudity, and Language)

Running Time: 1 Hour & 58 Minutes

Cast-

Colin Farrell-Douglas Quaid/Carl Hauser

Kate Beckinsale-Lori Quaid

Jessica Biel-Melina

Bryan Cranston-Chancellor Vilos Cohaagen

Bill Nighy-Matthias

John Cho-Bob McClane

Bokeem Woodbine-Harry

Will Yun Lee-Marek

Dylan Scott Smith-Hammond

Kaitlyn Leeb-Three-Breasted Prostitute

Directed by Len Wiseman

Is this real? Is this recall? Should you even care about this remake?!

Gleefully violent yet also thought provoking, Paul Verhoeven's "Total Recall," starring Arnold Schwarzenegger and loosely adapted from Philip K. Dick's 1966 short story We Can Remember It for You Wholesale, remains a science fiction classic twenty-two years after its release in 1990. A fond relic of a bygone era, it's the type of film that Hollywood rarely makes anymore so when Columbia Pictures/Sony announced that a remake was in the works in 2009 with Neal H. Moritz's Original Film (cue obligatory chuckle) producing, fans were rightfully outraged. Whoever was chosen to direct had some extremely big shoes to fill. That person turned out to be Len Wiseman but this announcement did little to quell fan skepticism that the project was little more than a cynical cash-grab. The creator of the "Underworld" franchise where his wife, Kate Beckinsale, stars as the leather-clad vampire Death Dealer Selene, Wiseman's career as director/producer stretches back nine years and since then, he's only had one film that received positive reviews: 2007's "Live Free or Die Hard." Well, "Total Recall" has finally arrived in theaters (again!) and while this new version offers plenty of flashy visuals and action scenes, it is ultimately an unnecessary remake that fails to capture the nuance of Verhoeven's classic and is nothing more than a poor pastiche of every dystopian science fiction film released in the past three decades. 

In the year 2084, a global biological war has left much of the Earth uninhabitable and the only places still capable of supporting life is the United Kingdom, now calling itself the United Federation of Britain, and The Colony, formerly Australia. Ruled by Chancellor Vilos Cohaagen (Bryan Cranston), the United Federation of Britain is a sprawling futuristic metropolis where the rich and well-to-do live while the lower classes are forced to carve out a meager existence in the rain-drenched slums of the Colony. A massive transit system dubbed 'The Fall' connects the two nations through the planet's core. Blue collar factory worker Douglas 'Doug' Quaid (Colin Farrell) lives in the Colony with his loving wife Lori (Kate Beckinsale) and spends his mornings commuting to the UFB to his job assembling synthetic police droids. Haunted by dreams of a mysterious woman and longing for a life with actual purpose, Quaid decides to make a trip to Rekall Incorporated, a company that specializes in memory implants that gives its clients experiences of fabulous vacations using alternate identities. However, during the procedure, the company representative, Bob McClane (John Cho), discovers that Quaid has already had his memory erased and demands to know who he is. Suddenly, an armed SWAT team bursts through the door and attempts to arrest Quaid but he manages to kill all of them in an explosive shootout despite having no formal training. A bewildered and confused Quaid returns home to his wife, where she reveals that she is actually a secret agent and that their marriage is a sham as a result of false memory implants. To unravel the secrets of his mind and learn his true identity, Quaid joins forces with a rebel from the Colony named Melina (Jessica Biel) while evading capture from Cohaagen's endless battalion of police droids and SWAT teams. 

In the words of Arnold Schwarzenegger, the original "Total Recall" was 'the best mind-f*ck yet' while Wiseman's remake is all flash with little, if any, of actual substance. Verhoeven's version may have been full of cheeky one-liners and overly-exaggerated violence but what made the film so memorable were its themes of unchecked corporate greed and the nature of fantasy vs. reality. Is what we're seeing on-screen really happening or does it only exists in Quaid's mind? No concrete answers are provided, leaving it up to audiences to formulate their own theories. This ambiguity is entirely absent in the remake and robs much of the suspense from the film. With the exception of its tone and the move from Mars to Earth, the script from Kurt Wimmer and Mark Bomback brings absolutely nothing new to the table. Wiseman himself only seems concerned with throwing as many visual effects at the viewer as he possibly can to keep them from focusing on its paper-thin story, although some of the future tech shown is rather clever, such as a cell phone that is embedded into your hand. Not one penny of its estimated $138 million production budget was wasted but the future looks awfully generic as it rips off of similar dystopian science fiction films, specifically 1982's "Blade Runner" and 2002's "Minority Report," which ironically had Colin Farrell in a supporting role. Hell, Cohaagen's white armored SWAT teams and synthetic police droids are so blatantly plagiarized from "Star Wars" that George Lucas could win a lawsuit against Wiseman for copyright infringement! 

The best parts of the remake are the little nods to the original, such as the three-breasted prostitute played by Kaitlyn Leeb this time around and the obese woman visiting for 'two weeks' yet it also serves as a stark reminder of how much fun Verhoeven's film is. The only element that I can praise is the action but even these scenes end up being dull and repetitive. Wiseman relies on it so much that it leaves all the characters as little more than punching bags as they run from one location to another, occasionally stopping for the briefest moments of exposition. The hand-to-hand combat is well-choreographed, especially during an elevator brawl between Lori and Melina but the editing is often too choppy and frenetic. Some of the action is staged like a platform video game, such as a chase sequence that has Quaid and Melina hopping through a maze of vertical and horizontal elevators. "Total Recall" may deliver on visual spectacle but Wiseman fails to take advantage of its intriguing premise, thereby wasting his opportunity to craft a unique film. 

The performances from the cast aren't terrible, although that's not saying much. Colin Farrell is likable as Douglas Quaid but his character's confused state is all on the surface and the script unfortunately leaves him so bland and devoid of personality that it's hard to feel any sympathy. The same problem applies to Jessica Biel's Melina, who bats her eyes at Farrell and little else. Kate Beckinsale however, appears to be having fun and is in full ice queen bitch mode as Quaid's 'wife' Lori. Michael Ironside's character of Richter has been combined with hers to give Beckinsale more screen-time. Finally, there's Bryan Cranston as Vilos Cohaagen, who is the chancellor of the United Federation of Britain instead of a greedy corporate executive. Cranston is actually quite charismatic but unfortunately, the actor is completely wasted in the role. 

"Total Recall" was released on August 3, 2012 to largely negative reviews with 32% on Rotten Tomatoes. Critics noted that 'it boasts some impressive action sequences [but] lacks the intricate plotting, wry humor, and fleshed out characters that made the original a sci-fi classic.' Audience reaction was enthusiastic when I saw the film at an advanced screening this past Thursday and there was even applause. I find that moviegoers nowadays are like children as they are easily dazzled by a couple of flashy visual effects. "The Dark Knight Rises" should remain at the top of the box office with ease while Wiseman's remake should earn a respectable $25 to $30 million in second place. The only competition is "Diary of a Wimpy Kid: Dog Days," based on Jeff Kinney's books of the same name but with little interest from audiences, it'll end up with $15 to $20 million behind "Total Recall," although the production budget is incredibly low anyway. "Total Recall" may be packed with action and copious amounts of visual effects but this remake fails to update upon the original in any meaningful way, leaving the film a dull and monotonous affair, much like Quaid's life. You're better off re-watching Verhoeven's version and wiping this one from your memory.

Final Rating: 2 out of 5

"This is going to be hard for you to believe. Whatever you think you remember…is not real. This person you think you are now, it's all a lie."

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Total Recall (1990) Mind-Bending Edition Blu-Ray Review

Rated R

Running Time: 1 Hour & 53 Minutes

Cast-

Arnold Schwarzenegger-Douglas Quaid/Hauser

Sharon Stone-Lori Quaid

Rachel Ticotin-Melina

Ronny Cox-Vilos Cohaagen

Michael Ironside-Richter

Roy Brocksmith-Dr. Edgemar

Mel Johnson Jr.-Benny

Marshall Bell-George/Kuato (voice)

Ray Baker-Bob McClane

Rosemary Dunsmore-Dr. Renata Lull

Michael Champion-Helm

Robert Costanzo-Harry

Debbie Lee Carrington-Thumbelina

Lycia Naff-Mary/Three-Breasted Prostitute

Directed by Paul Verhoeven

Arnold Schwarzenegger stars in 1990's "Total Recall," one of the best science fiction/action films of the last twenty years.

Before Christopher Nolan's "Inception" toyed with audiences' minds and made them wonder whether it was all a dream, there was Paul Verhoeven's "Total Recall." The first time I saw a Paul Verhoeven film was 1987's "RoboCop" and even though it was clearly inappropriate for my age due to the extreme graphic violence, I remember enjoying every minute of it. Watching the titular character bust up a cocaine operation and gunning down dozens of armed men with his modified Beretta 93R while Basil Poledouris' bombastic score blared in the background left a smile on my five-year-old face. It's a cinematic memory that I will always fondly look back to so thank you for that, Mr. Verhoeven! Unfortunately, Verhoeven's career took a sizable hit when his NC-17 rated film "Showgirls" was released in 1995 and received overwhelmingly negative reviews with 12% on Rotten Tomatoes. Filled with gratuitous full-frontal nudity and numerous simulated sex scenes, "Showgirls" was the epitome of 'so-bad-it's good' and went on to achieve cult status on home video despite being heralded as one cinema's worst. Since then, Verhoeven has tried to recover from his critical misfire but 1996's "Starship Troopers" and 2000's "Hollow Man" are pale imitations of his best work, although 2006's "Black Book" managed to garner positive reviews, the best the director has had since "Basic Instinct" in 1992. Loosely based upon the 1966 Philip K. Dick short story We Can Remember It for You Wholesale, 1990's "Total Recall" contains all of Verhoeven's trademarks and combined with the star-power of Arnold Schwarzenegger, this gleefully violent and thought-provoking film remains a wildly entertaining science fiction classic twenty-two years after its release. 

Taking place in the year 2084, Douglas Quaid (Arnold Schwarzenegger) is a lowly construction worker living a humdrum existence with his beautiful wife Lori (Sharon Stone). However, he is constantly troubled by dreams of Mars and a mysterious woman living there. Under the control of Governor Vilos Cohaagen (Ronny Cox), the colony on Mars is currently embroiled in a conflict between his corporate security forces and a group of mutant freedom fighters led by a man named 'Kuato' (Marshall Bell). There are also rumors that an alien artifact has been found deep within the turbinium ore mines. Despite the warnings of his co-worker and friend Harry (Robert Costanzo), Quaid decides to pay a visit to Rekall Incorporated, a company that specializes in memory implants that gives its clients experiences of fabulous vacations. He opts for the two-week 'Mars Package' with an optional espionage component but before the technicians can implant the memories, Quaid violently reacts while being sedated and claims that they have blown his cover. One of the technicians reveals that there are signs of his memory having been erased. After re-sedating Quaid, the company salesperson decides to destroy his file and wipe his memory of his visit to Rekall before sending him home in an automated taxi. Waking up disoriented and confused, Quaid runs into a group of co-workers, including Harry, but they suddenly corner and attack him. After killing them all, he returns home to find Lori pulling a gun on him and claiming that their marriage is a sham as a result of false memory implants. Quaid manages to knock her out and escapes into the city while evading a group of armed thugs under the command of Richter (Michael Ironside), a subordinate of Cohaagen and the true lover of Lori. Staying at a dingy motel, Quaid is contacted by a strange man who leaves a suitcase by a phone booth for him. Escaping to an abandoned building, he investigates the suitcase and finds a video of himself under the name of 'Hauser.' Formerly in the employ of Cohaagen, Hauser discloses to Quaid that he wiped his own memory in order to protect his knowledge about the alien artifact located deep in the mines. The video also tells Quaid to get to Mars if he wants to learn the truth about who he is. Arriving on Mars, Quaid soon falls in with the freedom fighters and meets Melina (Rachel Ticotin), Hauser's former lover. He battles Cohaagen to free the colony from his iron grip but at the back of his mind, Quaid wonders whether what he is experiencing is real…or an elaborate delusion of his own making. 

While being held captive by Cohaagen with Melina, an impressed Quaid remarks to the governor that his plan was 'the best mind-f*ck yet'; I can think of no better way to describe "Total Recall." Although the script from writers Ronald Shusett and Dan O'Bannon (with Gary Goldman and Jon Povill also contributing) is relatively straightforward as it chronicles one man's search for his identity, what really makes this film the sci-fi classic it is today is Verhoeven's mixture of sardonic social satire with a dash of ambiguity. It's themes of class warfare and extreme capitalism help turn this special effects-driven blockbuster into a surprisingly thought-provoking experience.  Like "RoboCop," the future depicted in "Total Recall" is a corporate dystopia where the very air you breathe is restricted unless you pay up. The Mars colony is a self-contained dome due to the hospitable atmosphere but because Cohaagen's only concern is on reaping the profits of turbinium ore mining, he does not care about the populace suffering horrible mutations and deformities from inadequate radiation shielding, resulting in open rebellion as Kuato's freedom fighters wage a guerilla war against the governor's corporate security forces. However, is all this really happening or does it only exists in Quaid's mind? This is the central question that the film asks but no concrete answers are provided. There are clues littered in every scene but the joy in unraveling this mystery comes from the viewer being allowed to form their own conclusions on what is or isn't real. This dichotomy of fantasy and reality is what gives "Total Recall" near-infinite replay value and the film's enormous success lies not in its intriguing concepts but in the fact that it dares to be ambiguous. 

As this is still a summer blockbuster, Verhoeven does what he does best by going over-the-top with the violence. You can almost picture the director with a big smile on his face as he gleefully relishes in all the exaggerated blood and gore. Hell, just look at the giant bullet holes riddled across Quaid's unlucky human shield when he finds himself trapped by Richter's thugs on an escalator. Even Thumbelina (Debbie Lee Carrington), the midget prostitute, gets to join in on the fun when she jumps on top of a bar table and begins blasting away at Cohaagen's men with a submachine gun! I was grinning ear-to-ear at all the sheer mayhem, the type that only Verhoeven excels in. The visuals are incredibly striking even though it was accomplished without the aid of CG, with the exception of the X-Ray scene. A year later, James Cameron's "Terminator 2: Judgment Day" would revolutionize the way movies were made by pushing the use of CG by leaps and bounds. Many of the effects relied on miniatures and good old-fashion make-up from Rob Bottin, whose work became famous in John Carpenter's "The Thing" from 1982. Who could forget Quaid's trip to Venusville and his encounter with Mary (Lycia Naff), the three-breasted prostitute? Sure, it looks dated now but that's exactly what lends "Total Recall" its charm; it just wouldn't be the same if the effects were replaced with the high-tech gloss of modern CG. Jerry Goldsmith also does an amazing job composing the score by perfectly evoking a sense of adventure, action, and mystery. 

The performances are actually quite good for an action film with such a cheeky sense of humor. Arnold Schwarzenegger was never all that great of an actor but he makes up for it with an irresistible screen presence and charisma. Despite being built like an ox for a blue-collar worker, Schwarzenegger's Douglas Quaid is surprisingly sympathetic as he grapples with the dilemma of who he really is while throwing cheesy one-liners like 'Consider that a divorce!' Ronny Cox and Michael Ironside are suitably despicable as the main villains while Sharon Stone exudes sex appeal as Quaid's faux wife Lori. As the main love interest to Quaid, Rachel Ticotin is fine but she pales in comparison to Stone. The film may take place in the future but it's ironic to see these two actresses dress in 80's style clothing. 

Previously released on Blu-Ray back in 2006, "Total Recall" is being re-released in an all-new 'Mind-Bending' edition that features a superior high definition transfer approved by Verhoeven. It's not exactly demo material but I was impressed with the amount of detail, especially in close-ups. The opening dream sequence on Mars is a stunner, although there are some scenes which look ill-defined such as the drilling machines that pop up from time to time. Some of the effects may sound hollow but the energetic audio track allows the film to come alive with an abundance of gunfire and explosions. Even amidst Goldsmith's bombastic score, dialogue remains sharp. Special features include an audio commentary with Verhoeven and Schwarzenegger, a half-hour documentary on the making of the film, plus a number of exclusives such as a retrospective with Verhoeven and a look at the extensive visual effects utilized by the crew. 

"Total Recall" was released on June 1, 1990 to largely positive reviews with a current score of 83% on Rotten Tomatoes. Critics hailed it as 'a fast-paced rush of violence, gore, and humor that never slacks.' Roger Ebert even went so far as to call the film 'one of the most complex and visually interesting science fiction movies in a long time.' "Total Recall" was one of the most expensive films made at the time with an estimated $65 million production budget but it went on to become a box office success, grossing $261 million worldwide or $459 million when adjusted for inflation. With its blend of violent thrills and smart story-telling, "Total Recall" is the type of action film that Hollywood sadly does not make anymore. This isn't just a Schwarzenegger classic but a classic through and through!

Final Rating: 4.5 out of 5

"A man is defined by his actions, not his memory."

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