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.
In the dialogue-free opening sequence of Shame director Steve McQueen introduces us to Brandon (Michael Fassbender) a handsome New Yorker who goes through a morning routine tackles the responsibilities of his high profile day job socializes with co-workers and all the while struggles with an insatiable desire for sexual pleasure. As the strings of composer Harry Escott's score swell we see Brandon in two scenarios: holding back from advancing on a beautiful young subway-rider and succumbing to carnal instinct with the help of a prostitute. It's a powerful setup for Fassbender's breathtaking performance which ranks among the best of the year.
Shame forcefully declares that sex addiction is just as tangible devastating and perplexing as any drug or alcohol problem but does so without didactic lessons or over-the-top indulgences. Fassbender's Brandon is on the other end of the spectrum from Nicolas Cage's crazed alcoholic character in Leaving Las Vegas with McQueen breaking long stretches of repression with harrowing moments of emotionless lust. The film works as a character portrait following Brandon as he finds himself falling deeper and deeper into the rabbit hole and witnessing the effects of his descent on the people around him. Picking up women isn't a problem for the dashing gent—he does so with ease on many an occasion—but when he tries dating the one woman he has feelings for he's void of sexual stamina. Unfortunately even in the sprawling city of New York there's no outlet for Brandon to confide in—his work buddies are all looking for an easy lay and his sister Sissy (Carey Mulligan) who shows up at his door one inopportune day has a heap of her own problems.
McQueen shoots Shame with precision that never feels staged each scene camera angle and directorial choice amplifying Brandon's dizzying situation Whether Brandon's entranced by Sissy's passionate rendition of "New York New York " working off his own sexual frustration with a quick jog or seducing a barfly's girlfriend at a hole-in-the-wall joint Fassbender and McQueen work in perfect tandem to bring the audience into the struggle. You will feel the raw power of Brandon unleashing his sex drive and you will feel the sadness behind Fassbender's face as he drifts alone through the city streets. Both moods are powerful moving and true.
Shame doesn't have an easy-to-swallow narrative a real beginning or an end. When you expect things to align into a traditional structure McQueen and screenwriter Abi Morgan subvert expectations—as life often does. What keeps us engrossed is Fassbender who can pull off the balancing act of suave and broken without tipping us off that he's acting at all. Shame received an NC-17 rating because of its racy imagery but the real maturity on display in the film is the bare bones depiction of human behavior.