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.
Power producer Neal Moritz’ (Green Hornet Fast & Furious) company is called Original Film which is ironic because he hasn’t made a truly unique motion picture in some time. His latest effort Battle: Los Angeles isn’t groundbreaking by any stretch of the imagination but packs enough punch to leave you saying “Thank you sir may I have another?”
Jonathan Liebesman (The Texas Chainsaw Massacre: The Beginning) directs this massive movie about a race of aliens colonizing our planet but as the title suggests the action is centered on the City of Angels. Instead of watching the world at war we witness the American military’s last stand on the West Coast by following a single squad of soldiers on the ground as they fight their way through the city to pick up scattered civilians before the Air Force levels Los Angeles. 2nd Lt. William Martinez (Ramon Rodriguez) leads the troop but is too young to be calling the shots in a cataclysmic event like this. Thank heavens Squad Sgt. Michael Nantz (Aaron Eckhart) was called back in for one last mission because it doesn’t take long for the rest of the battalion to realize that the reluctant hero is their best chance for survival.
It’s a good thing that Liebesman and his technical crew are on the top of their game in Battle: LA because most of the other aspects of the production are just downright foolish. Writer Chris Bertolini took the framework from a handful of classic war movies and applied them to his script resulting in highly predictable scenarios and a pace that marches to the beat of past genre entries like Independence Day and Black Hawk Down. His dialogue filled with military jargon and 5th grade humor is quite literally laughable at some points while the thinly crafted characters are all token “team members” that you’ve seen before in films like Jarhead from the soon-to-be-father who’s not sure if he’s going to make it back to his wife to the new recruit/virgin who’s too young to die to the guy with the chip on his shoulder. We get brief glimpses of their back-stories in the first twenty minutes of the movie but as Nantz says during his Bill Pullman moment when the tide begins to turn “none of that matters now.”
What does matter is that Battle: Los Angeles is a roaring thrill ride that barely lets up from start to finish. From the moment the soldiers hit the streets they’re thrust into a tense and gritty survival situation that vaguely mirrors the urban environments in which our Marines are currently engaged in the Middle East. Liebesman uses handheld cameras and close-ups to capture the calamity of combat giving the picture a documentary quality that helps it find some semblance of individuality. Though his actors aren’t required to do much acting (save for Michael Pena whose small role as a dedicated father stands out) and the script as stated is noticeably sub-par capturing their facial expressions as hovercrafts blow fighter jets out of the sky brings out emotion that most of them wouldn’t be able convey in a more traditional performance.
As I continue to heap praise upon the film’s technical achievements I must also note editor Christian Wagner’s chaotic cuts that heighten the soldier’s state of paranoia and the overall sound design of the picture. Until we get up close and personal with one of the aliens Liebesman doesn’t show us much; we have a hard time seeing them because they move so fast but we can hear their quick movements and the affect is quite unsettling much like the performances from Michelle Rodriguez Ne-Yo and a slew of the films co-stars.
Whether or not the filmmakers originally intended on making a movie that was more than the average alien invasion flick is neither here nor there. Is it a rehash of the most exciting moments in War of the Worlds or Red Dawn? Sure it is but it’s also an electrifying film that manages to be engrossing and entertaining in spite of its flaws.
Though Garry Marshall hasn’t made a decent flick since 1990’s Pretty Woman he still apparently wields a not inconsiderable amount of clout in Hollywood. What else could explain the all-star ensemble of actors who gathered for Valentine’s Day? Among the major names found probing the turgid depths of the nearly 80-year-old director’s insipid rom-com are Julia Roberts Anne Hathaway Ashton Kutcher Jessica Alba Jamie Foxx Jessica Biel Taylor Lautner and various other prominent actors who either owe favors to Marshall or whose incriminating photos he holds in his possession.
A slice-of-life tale unfolding in Los Angeles over the course of a single Valentine’s Day the film chronicles the romantic adventures of a diverse cast of characters at various stages of relationships and encompassing virtually every conceivable demographic category. Their ages backgrounds and perspectives often dramatically differ but they each share one trait in common: Almost without exception they are all ceaselessly painfully disastrously unfunny.
Some temper their dishumor with a dose of the annoying like Kutcher whose dopey florist Marshall unwisely chose to anchor Valentine’s Day’s story around. Others add a dash of the preposterous like Roberts dressed in military fatigues in a laughable attempt to play a U.S. Army Captain on leave from the front. Still others add cloying sentiment to the mix like Bryce Robinson’s lovelorn 10-year-old whose grandparents played by Shirley MacLaine and Hector Elizondo ply him with nostalgic romantic tips pre-fabricated for maximum inter-generational cuteness. Whatever your preferred method of cinematic torture may be you’ll undoubtedly encounter it in this film.
In addition to challenging the pain threshold Valentine’s Day offers a test of endurance as well its story requiring over two hours to satisfy the narrative demands of its swollen cast. If you didn’t despise Hallmark’s ersatz holiday before you certainly will after enduring this Bataan Death March of rom-coms.
WHAT IT’S ABOUT?
Political intrigue corruption scandal sex — it’s all here in this Americanized adaptation of the much acclaimed 2003 six-hour BBC miniseries. With the story shifting from London to Washington D.C. the focus is now on a married congressman who is chairman of an important committee overseeing defense spending. He is a rising star in his party until his beautiful young assistant with whom he has been carrying on a clandestine affair is suddenly found dead. Things get complicated when his old friend Washington Globe investigative reporter Cal McAffrey is assigned to track down the story and try to uncover the identity of the killer. With cub blogger Della Frye forced on him as a partner the two journalists step into a government coverup that is much bigger than anyone could have imagined.
WHO’S IN IT?
Four days before production kicked off Brad Pitt dropped and Russell Crowe replaced him in the key reporter's role. It’s hard to imagine Pitt in this part since Russell Crowe disheveled-looking with long hair and about 30 pounds overweight owns it in his best performance since A Beautiful Mind. As his blog-savvy young partner Rachel McAdams firmly captures the essence of a determined but inexperienced young journalist in over her head. A sharp-tongued and feisty Helen Mirren is ideal as the newspaper boss more concerned with profits than integrity as she spouts out lines like “I don’t give a s--t about the rest of the story. We are going to press!” Ben Affleck also has his best screen outing in a while as the ambitious congressman Stephen Collins who gets caught with his pants down. A bevy of fine supporting turns include Robin Wright Penn as Collins’ unhappy wife; Jeff Daniels oily and smarmy as a conservative politician who knows more than he lets on and especially Jason Bateman stealing scenes as a slimy PR guy who provides some key details.
Not only does State of Play work well as a political thriller its pointed take on the failing state of newspapers and lax journalistic standards could not be more timely. Stunning widescreen cinematography and lavish sets add to the authenticity of a movie that in its best moments can be compared favorably with similar '70s classics like All the President's Men.
As the dense plot unfolds it gets a bit confusing trying to keep all the players straight particularly towards the end where you might need "State of Play for Dummies" just to follow it all.
A nail-biter beautifully staged by director Kevin MacDonald (Last King of Scotland) where Crowe plays a cat-and-mouse game in an underground garage with a mysterious armed suspect he has just confronted.
HOW MANY WRITERS DOES IT TAKE TO SCREW IN A LIGHT BULB?
Four major ones in this case. Matthew Michael Carnahan (The Kingdom) Tony Gilroy (Duplicity Michael Clayton) Billy Ray (Breach) and an uncredited Peter Morgan (Frost/Nixon The Queen) are the superstar team of scribes who each took a crack at whittling down a six-hour miniseries into a two-hour flick.
Look for Bateman and the art directors responsible for the massive newspaper office to turn up on the shortlist for next year’s Academy Awards.
Luke (Steven Strait) and Brier (Pell James) first cross paths on a New York City subway before the doors shut on their instant attraction to one another. Of course it is immediately and abundantly clear that they will naturally meet up again before long but where and how? The answers: L.A. and well it's complicated. Each having forgotten about the other Brier a top model in NYC decides she needs a change of scenery and tells her agent (Carrie Fisher clearly in it for the paycheck) she's heading out to L.A. to pursue acting while Luke and his brother Euan (Kip Pardue) decide to move to the West Coast as well. Once there Brier befriends Clea (Ashlee Simpson) and on her first night in town takes Brier to a local dive bar where Luke works as a struggling "musician." Wow that's some coincidence. There is an instant re-connection between Luke and Brier but she refuses to get involved with musicians since her rock-star ex mistreated her. Instead she shifts her focus on generating buzz for Luke. Eventually Luke gets the big recording contract becomes the rock-star jerk he'd swore he'd never become and loses it all. But all is well when Brier decides she can no longer resist Luke's ballads and Metallica-guitarist-circa-'85 hair.
The theme of Undiscovered could apply to its cast. Each of the four leads are on the cusp of being on the cusp and certainly they hope this movie will take them one step closer. For James that might happen. She is a natural on screen and gives a breakthrough performance as the comely Brier. Strait is also a relative newcomer. After turning his debut performance in this summer's Sky High he holds his own in Undiscovered but seems to be relegated to taking his shirt off to make the teenyboppers swoon. Finally there's Simpson who is also making her major-role debut. It's awkward to see her on-screen and yes subconsciously you wait for her to make a noticeable mistake (or butcher a voice-over due to acid reflux). Of course it doesn't happen; she moves along pretty smoothly but is at times subjected to dialogue that seems beyond her especially when she has to words big words such as "banter." And certainly it's not her fault when she describes Luke--a musician best left struggling--as "a cross between Jeff Buckley and Elvis Costello." That's just someone else's words she reciting.
Prolific music-video director Meiert Avis is making his feature film directorial debut with Undiscovered--and his obvious greenness shows. At times the film is more like a music video surrounded by a weak storyline than a cohesive film. His expertise in the rather linear realm of music videos doesn't exactly qualify him for the complexities of a 90-minute film contrived and straightforward as his debut may be. Avis tries to employ every possible clichéd obstacle for the characters to overcome--which reeks of inexperience but could also be the screenwriter's fault. No doubt Avis feels at home with newcomers such as Strait and Simpson who--for all intents and purposes--sing and act but the plethora of singing scenes feel forced. That is forced into the script to showcase the soundtrack when the movie goes undiscovered at the box office.
Bobby Garfield (David Morse) returns to his small hometown to attend the funeral of his childhood friend and remembers the fateful summer in 1960 when his whole world changed. The story flashes back to when 11-year-old Bobby (Anton Yelchin) and his best friends Carol (Mika Boorem) and Sully-John (Will Rothhaar) capture the pure joy of youthfulness. When a mysterious stranger named Ted Brautigan (Anthony Hopkins) moves upstairs and starts to pay attention to Bobby the boy suddenly realizes what's truly missing from his life--the love of a parent. Bobby's mother Liz (Hope Davis) is embittered by the death of Bobby's father and shows little compassion for her son's growing needs. Ted fills a void with the boy opening his eyes to the world around him and helps Bobby come to terms with his real feelings for Carol--and his mother. But Ted also has some deep dark secrets of his own and Bobby tries hard to stop danger from reaching the old man.
The performances make the film especially in the genuine camaraderie of the kids. Yelchin Boorem and Rothhaar never deliver a false move with an easiness that makes us believe we are simply watching three 11-year-old children grow up together. Yelchin in particular is able to get right to the heart of this young boy who misses his father and clings to the only adult who will listen. And his scenes with Boorem simply break your heart. (Davis) does an admirable job playing a part none too sympathetic. She manages to show a woman whose been beaten down but who does truly love her son in her own way. Morse too is one of those character actors you can plug in any movie and get a performance worth noting. In Hearts you want to see more of him. Of course the film shines brightest when Hopkins is on the screen. It may not be an Oscar-caliber performance but the actor is unparalleled in bringing a character to life--showing the subtleties of an old man looking for some peace in his life.
If you are expecting the Stephen King novel you may be disappointed. Screenwriter William Goldman and director Scott Hicks (Shine) deftly extracted the King formula of telling a story through a child's eye and explaining how the relationships formed as a child shaped the adult later. Hicks did an amazing job with his young actors especially Yelchin and Boorem. But where the novel continued into a supernatural theme explaining Brautigan's fear of being captured by "low men in yellow coats" (a reference to King's The Dark Tower series) the movie downplayed the mystical elements instead giving real explanations for Brautigan's man-on-the-run. That was the one problem with Hearts--we needed more danger. Introducing men from another dimension may not have been the way to go but had there been more tension the film would have resonated more especially when Bobby risked his own safety to save Ted.