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These cookies help provide information on metrics the number of visitors, bounce rate, traffic source, etc. Advertisement Advertisement. Advertisement cookies are used to provide visitors with relevant ads and marketing campaigns. These cookies track visitors across websites and collect information to provide customized ads. Others Others. Some background information is also more apparent now. Resolution on these more distant images is always keen, making it fun to peruse the extravagant sets and crazy characters.
Some shots can look a little hazy, such as the moment when Doug awakes from his Martian dream at the start, but overall the image seems to possess a fair balance. You can see the level adjust itself as Quaid turns on the lights during his fight with Lori in their apartment — the light comes on and the contrast becomes too high, falters slightly, and then balances out.
And there are other minute fluctuations too. They lack depth and vigour and shadow-play is unavoidably compromised. The mystery down in the caves and tunnels of the Martian pyramid is muted and infiltrated by grey. Then again, when I look back to the old DVD, they are just as inadequate. The most obvious recipient of this restoration is the colour-timing.
The primaries are nicely saturated and help bestow the film a comic-book appeal. The various livid shades of the mutant flesh — lots of purples and lilacs — are more apparent and weirdly entrancing. The neon of Venusville, and the gaudy attire of the locals, is also brighter and more energised. Blood is never missing from the screen for long … and it is luxuriously thick and dark and nasty The heavy, dominating reds of Mars are presumably now precisely how Paul Verhoeven always wanted them to be.
And they are thick and heavy, yet they look intentional and smooth, with no degree of smudginess at all. What it does, it does reasonably well and enjoyably … but this is not a mix that offers up oodles of rear support, engagingly immersive whiparound sonics, or a highly dynamic, room-filling experience. The bass is welcome, but when the brass kicks in, it sounds less forceful.
But for such a hugely violent and action-packed romp, this mix is somewhat restrained and certainly front-heavy. Total Recall is a ball-busting movie. It is full of gunfire, shattering glass, things getting blown-up, people getting hurled about, massive drilling vehicles chewing-up the Martian rocks, metallic objects being smashed into, or rammed straight through flesh. But the original elements are now quite dated and they are nowhere near as exciting as you might have liked.
Gunfire barks with a sort of organic belch — something of a Verhoeven trait — but it carries little actual heft.
The soundstage does have some depth to it, picked up especially in the crowd scenes and usually as Quaid is running for his life from Richter doing his Stevie Wonder impersonation.
Surround activity is scant if you are hungering for that sort of detail. What is served up is mainly score-bleed and a smidgeon of ambience. Oh, some occasional material is sent across the room and picked up by the rear speakers — explosions, the movement of vehicles, including the overhead passage of the Mars shuttle which hovers over you and you can almost feel the hot down-draught on the back of your neck, and such like — but this is not a mix that you are likely to ever totally recall as being sonically surrounding.
But, in its favour, actual detail within the mix is very good indeed. The fantastic bone-crunching actually the amplified sound of celery being twisted and broken and bodily thuds as characters are smacked into walls that wobble, if you look or have their faces bashed-in, as well as the skittering of the bullet-casing upon the floor, are quite marvellously reproduced.
I like the machine noise of the implant rooms, and this is dealt with a delicious SF drone. Dialogue is always intelligible, but it does sound a little muddy on occasion and it is unmistakably positioned lower down in the mix when things go ballistic.
Again, I would say this is all in accordance with the original source elements. The film is a combination of excessive violence and existential angst regarding the meaning of reality, not helped by the fact that the audience is told twice - once at the beginning and again towards the middle of the film - the whole plot of the movie. Even the ending, as it has already been spelt out by more than one character, does not clear up the central question as to whether Quaid is indeed this cartoonish all action hero, who gets the girl and saves a planet, or if he has suffered some form of psychotic break, when the exact same memory is inserted in his brain.
The truth is that Total Recall is structured in such a way that either explanation is equally true. On the surface we have the absurd story of Quaid Arnold Schwarzenegger , a man who goes to have memories of a trip to mars, where he discovers he is a secret agent, implanted, as a form of vacation, only to discover that his memories are not inserted, but are resurrected by the machine.
The problem is Quaid likes his new personality and has no wish to become his alter ego, Hauser. When his memory is restored, his previous employer, Vilos Cohaagen Ronny Cox , decides that he knows too much and needs to be eliminated, Quaid discovers that his wife, Lori Sharon Stone , is not his wife at all, but is just there to oversee him. The only thing that Quaid can do is follow his pull towards Mars and a woman called Melina Rachel Ticotin. Fans of Dick's work will probably be disappointed regarding the distance between the written word and the final film.
Apart from the use of a similar sounding name and his discovery that he is an agent, there is little which survives from the original story.
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