Review: Total Recall (1990)
With the dearth of new content available to release to the home market, studios have been mining their catalogs of older titles, giving them fresh, new 4K HDR video remasters and (frequently) Dolby Atmos immersive audio tracks to entice viewers to purchase—or repurchase—a classic. The latest film to get a (gasp!—has it actually been that long?!) 30th-Anniversary remaster release is Total Recall.
I actually saw Recall in the theater in 1990. That was right in the middle of Arnold Schwarzenegger’s reign as king of the big-screen blockbuster, following his roles in two Conan films, The Terminator, Commando, Predator, The Running Man, and the comedy Twins (followed shortly thereafter by Terminator 2, Last Action Hero, True Lies, and Eraser). Arnie in a film all but
guaranteed audiences that they were in for a big-budget, wild action ride.
Besides his imposing physicality and quasi-believability of being able to wipe out hordes of bad guys, Arnold also managed to bring some humor to the big action role, proving to have surprising comic timing and dryly delivering one-liners that brought another facet to the action genre.
Based on the story “We Can Remember It For You Wholesale” by Philip K. Dick (who also penned “Do Androids Dream of Electric Sheep?” the basis for Blade Runner), Recall is directed by Paul Verhoeven, and it definitely has his stylistic thumbprint all over it, especially in the over-the-top gun violence and massive bullet wounds and in-film adverts, which are heavily reminiscent of his other films RoboCop and Starship Troopers.
The sci-fi plot actually has a bit of depth and complexity to
RECALL AT A GLANCE
This sci-fi actioner from the height of Schwarzenegger’s fame receives the 30th-anniversary 4K HDR treatment.
The 4K transfer is true to the movie’s 35mm origins, retaining a respectable amount of grain, while HDR makes the saturated, neon Martian reds pop.
The Atmos mix is mainly restrained and front-forward, with the surround channels used extensively to expand the music score.
it, thanks to Dick’s source material. Taking place in 2084, Douglas Quaid (Schwarzenegger) is continually plagued by dreams of being on Mars with a mysterious woman. Thinking that a virtual trip to Mars might satisfy him, Quaid heads over to Rekall, where they implant memories in your brain. These implanted memories are indistinguishable from actual memories, and Rekall promises to make you feel like you’ve had a luxury vacation experience without ever leaving Earth and for a fraction of the price.
Complications arise during the implant process, and Quaid is quickly sedated and dumped in a cab. His life turns upside down when people—including his wife, Lori (Sharon Stone)—start attacking him. Lori tells him that his life and memories are all fake and just implants from The Agency, and she has been assigned to watch over him. This leads to Arnold delivering one of the film’s iconic lines, “If I’m not me, who the Hell am I?” Narrowly avoiding a raid, Quaid is given a briefcase with money, papers, gadgets, and a video message from himself, but as someone named Carl Hauser who tells him that he, as Hauser, underwent a memory wipe to escape The Agency after discovering an alien artifact on Mars. After Hauser walks Quaid through the process of removing a tracking device, Quaid heads to Mars.
Is Quaid still on the table at Rekall, stuck in his dreams, living implanted memories? Is he actually Hauser? What memories are real and can be trusted? And if you can’t trust yourself, who can you trust?
With a huge (for the day) budget of $65 million, the movie features elaborate sets, makeup, costume design, and world building. Mars feels like a fleshed-out, alien world that has been colonized by humans, including various mutations from intense radiation, and the interiors—especially the location of the alien artifact—seem appropriately huge. Further, practical special effects abound throughout—as well as some relatively new for the time CGI. Recall actually won an Academy Award for Visual Effects. (It was also nominated for Sound and for Sound Effects Editing.)
Originally shot on 35mm film, this new transfer is taken from a new 4K digital intermediate. Some film grain remains visible throughout, but it is never distracting. The film certainly didn’t receive the massive grain reduction smoothening Terminator 2 did. In general, most scenes—especially those filmed in the bright outdoors—are clear and sharp. Don’t expect the ultra clarity, sharpness, and detail of modern digital images, but you’ll definitely appreciate all the detail the source material has to offer.
I remember being especially impressed with the scene of Quaid pulling the tracker roughly the size of a golf ball out of his nose, wondering how they pulled that off. While this would have certainly been a CGI effect today, it was accomplished with the use of an elaborate, incredibly realistic-looking puppet, and the effect still holds up, even under 4K’s enhanced resolution, where you can really appreciate the detail that went into it. The same goes for the mutant Kuato.
Some scenes—such as on board the subway—look a bit soft. Even within scenes, there can be a bit of inconsistency. When Quaid is in the Rekall offices, the fine check print in McClane’s (Ray Baker) jacket can alternate between being crisp and defined to looking soft and unstable. The added resolution also reveals the limitations of the video screens used at the time.
(Anyone remember the Proton and Curtis Mathis brand names?)
What really pops from this new HDR color grading are the vibrant, deeply saturated reds of Mars. From the opening credits, you get these searing, neon reds, giving a glimpse into what is to come. HDR also gives pop to the bright lights on the subway, and the neon lights and signs in Venusville, Mars’ red-light district. Blacks are also deep and clean, providing a solid background for the rest of the images to pop.
Sonically, the new Dolby Atmos mix is fairly reserved, certainly by modern standards, with most of the mix taking place in the front of the room. Even with a mainly LCR mix, you get a lot of width across the front, with action spread far left and right. The mix also does a great job with the dialogue, which is clear and understandable throughout.
The height and surround channels are used pretty extensively to expand the musical score, using the additional speakers for a far more room-filling experience, especially inside the Last Resort Club on Mars where loud music booms from all around.
The sound mixers did take some opportunities to extend sound effects into the
room to heighten certain moments. Aboard the robot-driven “Johnny Cab,” we get some nice creaks and groans happening overhead, during gunfights there are some ricochets into the surround speakers, subway announcements emanate from the height speakers, reverb sounds in the mine shafts, and wind swirls and blows overhead when there is a atmosphere breach.
While Total Recall shows its age in parts—some of the scenes between Schwarzenegger and Stone are a bit groany—it remains a fun action ride, driven forward with near constant action and a good bit of depth to the story. If your only experience with Total Recall is the disappointing 2012 Colin Farrell remake or from watching the original film on DVD, this new 4K HDR remaster is a must-see.
Probably the most experienced writer on custom installation in the industry, John Sciacca is co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing for such publications as Residential Systems and Sound & Vision. Follow him on Twitter at @SciaccaTweets and at johnsciacca.com.