Too much of a good thing.

Rating: 6/10 (17 January 2004)

"Total Recall" is an adaptation of a popular Philip K. Dick story combined with the touches of Arnold Schwarzenegger and Paul Verhoeven. With a multifaceted story involving repressed memories, a repressive dictator and a stolen identity, the potential was there for a classic exercise in thrill that would offer more than just spilt blood. Under a more ambitious director, it could have been terrific, but instead it falls into the mire of repetition and tedium.
The film is set in a future where the world is divided between two warring factions, one of which has colonized Mars for mining. Vilos Cohagen (Ronny Cox) is the appointed head of the planet and rules with a tyrannical hand. On earth, we are introduced to Douglas Quaid (Schwarzenegger), a construction worker married to the woman of his dreams (Sharon Stone). The only blemish on their marriage is his constant dreams about Mars and a mysterious brunet that inhabits them (Rachel Ticotin). Hoping to settle his mind, Quaid visits Recall Inc., a highly unusual travel agency that implants the memory of a vacation. However, the implant awakens another set of memories before it can be fully downloaded.
Dazed and confused, Quaid tries to figure out why he has such strong memories of the red planet and why people are suddenly trying to kill him. The theory is that he was a spy on Mars, but somebody went to great lengths to erase his past. The scene is complicated by the appearance of Richter (Michael Ironside), a vicious hit man on Cohagen's payroll.
Not surprisingly, the stunts are directed by Vic Armstrong, arguably the best in the business. His credits include all three Indiana Jones films, "Last Action Hero," the acclaimed sword fight in "Rob Roy" and the last four Bond movies. "Total Recall" is no exception. Every stunt and fight scene in the film, all 300 of them, are made with great skill.
Unfortunately, the film dives head-first into overkill. Not fifteen minutes into the film, the first attempt is made on Quaid's life, leading to a brutal altercation. From there on, the action never stops. As more and more violent encounters occur, the film grows weary and flirts with monotony. The same sequence ensues in a subway station, at customs, in air domes, hotels, strip clubs and gubernatorial mansions, among a hoard of other settings. I truly lost count of the times that Richter's men attack, gunshots fill the air, enough bad guys are killed to give Quaid a crease to run away, and the process resets itself. Then there is the psychotic cabbie who just won't leave us alone.
One of the hang ups with action films is the reality that too much of it can and will grow boring. By the time the climax comes, the viewer has had more then their fill of violence and loud bangs. Instead of cheering for the good guys, I was cheering because the film was about to end.
To test that sentiment, I had a good night's sleep, and refreshing morning shower, then skipped up the final scene. I was taken aback by how exhilarant it was when it seemed so pedestrian the night before. One part in particular, an all-out brawl on an elevator, reminded me of the original classic in "From Russia With Love." Thankfully, the acting is good in the few moments where the film slows enough to have some. Arnold himself is less of a featureless tough guy, as he sometimes is, and more human. He feels rage, confusion, love and sadness. As far as true acting, 'Total Recall' is one of Arnie's finest moments. Also notable are the vicious Ironside and the lovely Sharon Stone, who makes her mark every time she moves her intoxicating eyes. My favorite performance, though, came from Roy Brocksmith who plays a recall doctor in one scene and steals the show when he is on camera.
Had the story been handled more skillfully and the action not been so pervading, I would have loved "Total Recall" and recommended it without second thoughts. Even an action junkie is likely to be exhausted by the extreme overdose. Towards the end of the movie, I had an inspired thought about none other than Quentin Tarantino. After his decision to split "Kill Bill" into two films, he came under fire for using a coercive marketing ploy to double his money. Seeing what too much action can do to an otherwise worthy effort, was his choice not the right one?