Tag Archives: Jerry Goldsmith

Poltergeist II: The Other Side (1986, Brian Gibson)

Posted on 17 December 2012 | Leave a comment

There’s not much to recommend Poltergeist II: The Other Side, but it does promote family “values” while quite literally demonizing Christianity. That juxtaposing alone, however, does not make it worthwhile.

The film is the perfect example of a bad sequel. There are budget issues, plotting issues (the death of villain Julian Beck during filming couldn’t have helped) but also a strange refocusing of the characters. Somewhere in Poltergeist II there’s this compelling story of Craig T. Nelson overcoming his alcoholism to become a spiritual warrior of the Carlos Castaneda variety. Sadly, that story has no place here.

The Other Side shows exactly why good films should not be turned into franchises. Here, in order to stay relevant, the filmmakers turn JoBeth Williams into an unwilling clairvoyant, something she passed on to daughter Heather O’Rourke. But Williams has no other story. She’s appealing, but her performance isn’t particularly good. Same goes for O’Rourke, who has a lot to do. Oliver Robins, as the son, oscillates between okay and useless.

Special Native American mystical guest star Will Sampson is pretty good, at least seeming respectable. Given a much bigger part than in the first film, Zelda Rubinstein is awful. So is Geraldine Fitzgerald as Williams’s mother.

Beck is terrifying, easily the film’s best performance.

The special effects are decent, but visibly unenthusiastic. Jerry Goldsmith’s schizophrenic score–he uses both chants and synthesizers–is interesting.

It’s clear director Gibson understands what makes the first one great, but he can’t make this one acceptable.

CREDITS

Directed by Brian Gibson; written and produced by Michael Grais and Mark Victor; director of photography, Andrew Laszlo; edited by Thom Noble; music by Jerry Goldsmith; production designer, Ted Haworth; released by Metro-Goldwyn-Mayer.

Starring JoBeth Williams (Diane Freeling), Craig T. Nelson (Steve Freeling), Heather O’Rourke (Carol Anne Freeling), Oliver Robins (Robbie Freeling), Zelda Rubinstein (Tangina Barrons), Will Sampson (Taylor), Julian Beck (Kane), Geraldine Fitzgerald (Gramma-Jess), John P. Whitecloud (Old Indian) and Noble Craig (Vomit Creature).

Poltergeist series:

Poltergeist (1982, Tobe Hooper)

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Posted in 1986, Color, English, Horror, Metro-Goldwyn-Mayer, USA

Tagged Andrew Laszlo, Brian Gibson, Craig T. Nelson, Geraldine Fitzgerald, Heather O'Rourke, Jerry Goldsmith, JoBeth Williams, John P. Whitecloud, Julian Beck, Mark Victor, Michael Grais, Noble Craig, Oliver Robins, Ted Haworth, Thom Noble, Will Sampson, Zelda Rubinstein

Hollow Man (2000, Paul Verhoeven), the director’s cut

Posted on 29 August 2012 | Leave a comment

Is Hollow Man the last of the “for CGs’ sake” blockbuster attempts? In the nineties, post-Jurassic Park Hollywood assumed doing genre standards over with CG would get big grosses. Hollow Man feels like one of those.

There’s nothing nice to say about the film, except one has a lot to mock. Incompetent screenwriter Andrew W. Marlowe doesn’t just write insipid dialogue, he also doesn’t know the difference between MDs and PhDs. Apparently neither does director Verhoeven since he let the line pass.

Speaking of Verhoeven (to get it over with), Hollow Man lacks any personality. Sure, Elisabeth Shue acts a little trampier than one would expect, but in her only good acting move, she never lets it get explorative. Verhoeven’s composition is competent, I suppose, but boring. He really likes CG-assisted helicopter establishing shots. Not exactly an exciting directorial flourish.

Watching the film, which does have some good special effects and inventive uses of invisibility, one can just marvel at Kevin Bacon’s terrible performance. While both he and Shue are bad (so are Greg Grunberg and Joey Slotnick), Bacon has to be seen to be believed. Marlowe’s dialogue is atrocious, but William Devane can manage it. Bacon’s attempts at scenery chewing are disastrous.

Only Josh Brolin and Kim Dickens escape with some dignity (besides Devane, of course).

Jerry Goldsmith recycles a lot of his old stuff for the score; it’s not terrible though, just redundant.

Hollow Man would be loathsome if it were competent. Instead, it’s immediately dismissible.

CREDITS

Directed by Paul Verhoeven; screenplay by Andrew W. Marlowe, based on a story by Gary Scott Thompson and Marlowe; director of photography, Jost Vacano; edited by Mark Goldblatt and Ron Vignone; music by Jerry Goldsmith; production designer, Allan Cameron; produced by Douglas Wick and Alan Marshall; released by Columbia Pictures.

Starring Elisabeth Shue (Linda McKay), Kevin Bacon (Sebastian Caine), Josh Brolin (Matthew Kensington), Kim Dickens (Sarah Kennedy), Greg Grunberg (Carter Abbey), Joey Slotnick (Frank Chase), Mary Randle (Janice Walton) and William Devane (Dr. Howard Kramer).

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Posted in 2000, Action, Color, Columbia Pictures, English, Germany, Sci-Fi, Thriller, USA

Tagged Alan Marshall, Allan Cameron, Andrew W. Marlowe, Douglas Wick, Elisabeth Shue, Gary Scott Thompson, Greg Grunberg, Jerry Goldsmith, Joey Slotnick, Josh Brolin, Jost Vacano, Kevin Bacon, Kim Dickens, Mark Goldblatt, Marlowe, Mary Randle, Paul Verhoeven, Ron Vignone, William Devane

Poltergeist (1982, Tobe Hooper)

Posted on 13 July 2012 | Leave a comment

In a practical sense, one can just watch Poltergeist and be in awe of the technical qualities. Hooper’s Panavision composition and Matthew F. Leonetti’s photography alone are enough to make it a singular experience. But then there are Hooper’s additional touches–like how a scene’s establishing shot is usually the third shot in the scene, the first two being close-ups or reaction shots. Or the strobe effect. Or the eerie movement, which is probably the most famous Poltergeist visual.

But then there’s the script. Screenwriters Steven Spielberg, Michael Grais and Mark Victor are not big on exposition. In fact, the entire familial relationship at the center of Poltergeist is mostly inferred. One of the film’s obvious “goofs” involves JoBeth Williams only being sixteen years older than daughter Dominique Dunne makes a lot more sense if one assumes Williams is her stepmother. The dialogue–and Dunne’s behavior–even suggests it. But the film is full of those discrete little moments… the filmmakers put an incredible amount of trust in the viewer.

The acting is all excellent. Dunne, in the smallest family role, probably gives the film’s best performance. After her, it’s Craig T. Nelson as the dad, then Williams. These three are absolutely fantastic.

The other kids, Heather O’Rourke and Oliver Robins, are both good.

In the supporting cast, Beatrice Straight is particularly exceptional.

While Jerry Goldsmith’s score is derivative of his other work, it ties the film together quite well.

Poltergeist is great. It’s surprisingly deep and technically magnificent.

CREDITS

Directed by Tobe Hooper; screenplay by Steven Spielberg, Michael Grais and Mark Victor, based on a story by Spielberg; director of photography, Matthew F. Leonetti; edited by Michael Kahn; music by Jerry Goldsmith; production designer, James H. Spencer; produced by Spielberg and Frank Marshall; released by Metro-Goldwyn-Mayer.

Starring Craig T. Nelson (Steve Freeling), JoBeth Williams (Diane Freeling), Heather O’Rourke (Carol Anne Freeling), Dominique Dunne (Dana Freeling), Oliver Robins (Robbie Freeling), Zelda Rubinstein (Tangina), Martin Casella (Marty), Richard Lawson (Ryan), James Karen (Mr. Teague) and Beatrice Straight (Dr. Lesh).

Poltergeist series:

Poltergeist II: The Other Side (1986, Brian Gibson)

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Posted in 1982, Color, English, Horror, Metro-Goldwyn-Mayer, USA

Tagged Beatrice Straight, Craig T. Nelson, Dominique Dunne, Frank Marshall, Heather O'Rourke, James H. Spencer, James Karen, Jerry Goldsmith, JoBeth Williams, Mark Victor, Martin Casella, Matthew F. Leonetti, Michael Grais, Michael Kahn, Oliver Robins, Richard Lawson, Steven Spielberg, Tobe Hooper, Zelda Rubinstein

Supergirl (1984, Jeannot Szwarc), the director’s cut

Posted on 4 May 2012 | Leave a comment

Supergirl never really had a chance. The Superman-inspired opening credits lack any grandeur, ditto with Jerry Goldsmith’s lame music. Goldsmith improves somewhat throughout, but the lack of a catchy theme song hurts the film.

The film has a few things going for it, however, including Helen Slater in the lead and Szwarc’s direction. A handful of scenes are quite good, hinting at what a better script might have been able to embrace. Unfortunately, David Odell’s script is moronic. He doesn’t just give Supergirl a dumb villain (Faye Dunaway must have been really desperate for work), he doesn’t even give Slater a story arc. There are hints at one–when Slater gets to Earth, she’s finally smarter. The opening (with Mia Farrow and Simon Ward looking embarrassed as Slater’s parents) suggest she’s kind of slow, or at least unfocused.

The trip to Earth, the film can’t help but implying, matures her.

There are also some excellent special effects. Even when the effects don’t work, it isn’t because they’re not competent, it’s because it’s a dumb idea. Dunaway’s an evil witch. It’s a flying superhero versus a witch. There isn’t a lot of room for good action set pieces with that scenario.

Other than Slater, the best performance is probably Hart Bochner as her love interest. He’s not good, just not terrible. I suppose Peter Cook is only embarrassing himself, not bad. Brenda Vaccaro, Jeff to Dunaway’s Mutt, is atrocious.

Slater’s performance deserves a better film. It’s unfortunate Supergirl doesn’t deliver.

CREDITS

Directed by Jeannot Szwarc; screenplay by David Odell, based on a character created by Otto Binder and Al Plastino; director of photography, Alan Hume; edited by Malcolm Cooke; music by Jerry Goldsmith; production designer, Richard Macdonald; produced by Timothy Burrill; released by Tri-Star Pictures.

Starring Helen Slater (Kara), Faye Dunaway (Selena), Hart Bochner (Ethan), Brenda Vaccaro (Bianca), Maureen Teefy (Lucy Lane), Peter Cook (Nigel), Simon Ward (Zor-El), Mia Farrow (Alura), Marc McClure (Jimmy Olsen), David Healy (Mr. Danvers) and Peter O’Toole (Zaltar).

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Posted in 1984, Action, Adventure, Color, English, Fantasy, Sci-Fi, Tri-Star Pictures, UK

Tagged Al Plastino, Alan Hume, Brenda Vaccaro, David Healy, David Odell, Faye Dunaway, Hart Bochner, Helen Slater, Jeannot Szwarc, Jerry Goldsmith, Malcolm Cooke, Marc McClure, Maureen Teefy, Mia Farrow, Otto Binder, Peter Cook, Peter O'Toole, Richard Macdonald, Simon Ward, Timothy Burrill

The Ghost and the Darkness (1996, Stephen Hopkins)

Posted on 30 December 2011 | Leave a comment

There are two significant problems with The Ghost and the Darkness. Its other primary problem corrects itself over time.

The score–from Jerry Goldsmith–is awful (he basically repeats his terrible Congo score). It makes the film silly, like a commercial. A great deal of the film is about the wonderment of Africa, something Hopkins and cinematographer Vilmos Zsigmond certainly capture… only to have Goldsmith ruin it.

Second, writer William Goldman thinks it needs narration. It doesn’t. Goldman’s able to get away with a dream sequence here (Hopkins and Val Kilmer sell it) but the narration’s too much. It brings the viewer out of the film, especially at the end; the credits are a disconnect from the film’s final narration.

The third problem is Michael Douglas. When he shows up, he’s basically doing Romancing the Stone, only with an occasional Southern accent. He gets better, but it takes about fifteen minutes and some of it is rough going.

The real draw–besides Hopkins and Zsigmond–is Kilmer (he never screws up his accent). He has an epic character arc in this film and his performance is brilliant. It’s especially interesting to see how he acts opposite Douglas, whose initially bombastic, silly presence should derail Kilmer’s performance. But it doesn’t. Again, some of it has to do with Hopkins, who knows how to shoot these scenes.

Good supporting turns from Tom Wilkinson, John Kani and Om Puri.

The film has some problems, but they don’t come close to overshadowing its achievements.

CREDITS

Directed by Stephen Hopkins; written by William Goldman; director of photography, Vilmos Zsigmond; edited by Roger Bondelli, Robert Brown and Steve Mirkovich; music by Jerry Goldsmith; production designer, Stuart Wurtzel; produced by A. Kitman Ho and Gale Anne Hurd; released by Paramount Pictures.

Starring Val Kilmer (Col. John Henry Patterson), Michael Douglas (Charles Remington), Tom Wilkinson (Robert Beaumont), John Kani (Samuel), Bernard Hill (Dr. David Hawthorne), Brian McCardie (Angus Starling), Emily Mortimer (Helena Patterson) and Om Puri (Abdullah).

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Posted in 1996, Adventure, Color, Drama, English, History, Horror, Paramount Pictures, USA

Tagged A. Kitman Ho, Bernard Hill, Brian McCardie, Emily Mortimer, Gale Anne Hurd, Jerry Goldsmith, John Kani, Michael Douglas, Om Puri, Robert Brown, Roger Bondelli, Stephen Hopkins, Steve Mirkovich, Stuart Wurtzel, Tom Wilkinson, Val Kilmer, Vilmos Zsigmond, William Goldman

Innerspace (1987, Joe Dante)

Posted on 2 December 2011 | 1 Comment

It’s always a surprise when I remember Innerspace wasn’t a hit (it was also the first movie I ever saw as a letterboxed VHS–it was letterbox only). It’s easily Dante’s most populist work–I don’t think a single Dante “touch,” except for Dick Miller, shows up in the film until the appearance of Kevin McCarthy. Before, it’s all general action comedy sci-fi stuff.

Martin Short quickly establishes himself as essential to the film (his first scene comes a little bit earlier than the narrative needs him to be introduced). He shows up right before Dennis Quaid gets miniaturized, but that sequence is relatively long and detailed. Dante doesn’t worry about giving the audience a lot of immediate information, which might have been another problem.

Once Quaid and Short do get together, Innerspace moves without any slowing. When there is a scene–between Short and Meg Ryan–about taking a breather, it gets interrupted. It’s never a forced pace. In a lot of ways, Innerspace has Dante’s most professional direction. He never goes wild, but he never even hints at a misstep.

Short’s outstanding, Quaid and Ryan are both good.

Great Jerry Goldsmith score too.

Dante’s completely–and, unfortunately, wrongly–confident an audience will be comfortable with so many genres mixing at once. Until the end, there’s not a single sci-fi oriented action sequence–there’s lots of action comedy scenes, as it would be impossible to take Short seriously during any of them.

It’s one of Dante’s best.

CREDITS

Directed by Joe Dante; screenplay by Jeffrey Boam and Chip Proser, based on a story by Proser; director of photography, Andrew Laszlo; edited by Kent Beyda; music by Jerry Goldsmith; production designer, James H. Spencer; produced by Michael Finnell; released by Warner Bros.

Starring Dennis Quaid (Lt. Tuck Pendleton), Martin Short (Jack Putter), Meg Ryan (Lydia Maxwell), Kevin McCarthy (Victor Eugene Scrimshaw), Fiona Lewis (Dr. Margaret Canker), Vernon Wells (Mr. Igoe), Robert Picardo (The Cowboy), Wendy Schaal (Wendy), Harold Sylvester (Pete Blanchard), William Schallert (Dr. Greenbush), Henry Gibson (Mr. Wormwood), John Hora (Ozzie Wexler), Mark L. Taylor (Dr. Niles) and Kevin Hooks (Duane).

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Posted in 1987, Action, Adventure, Color, Comedy, Crime, English, Sci-Fi, USA, Warner Bros.

Tagged Andrew Laszlo, Chip Proser, Dennis Quaid, Fiona Lewis, Harold Sylvester, Henry Gibson, James H. Spencer, Jeffrey Boam, Jerry Goldsmith, Joe Dante, John Hora, Kent Beyda, Kevin Hooks, Kevin McCarthy, Mark L. Taylor, Martin Short, Meg Ryan, Michael Finnell, Robert Picardo, Vernon Wells, Wendy Schaal, William Schallert

The ‘burbs (1989, Joe Dante)

Posted on 30 November 2011 | Leave a comment

Until The 'burbs gets around to actually having to pay off on its premise–the strange new neighbors are really serial killers–it’s quite good. There’s no way the third act pay off can deliver and the film’s quality takes a number of hits in the last half hour or so. Olsen’s script is, technically, at fault… but it’s hard to think of how the narrative could have unfolded and not had problems.

What the film does have, even with the last act problems, is some of Dante’s most enthusiastic work. The film’s perfectly casted–I counted three times the actors were trying not to laugh during a scene–and he gets these great performances. Olsen’s script sets up these fine characters, Dante and the cast are able to turn them into something even better… then the script abandons them. At one point, Carrie Fisher just disappears. Instead of figuring out how to incorporate her (or even just keep her around), Olsen sends her away. Coincidentally, Fisher disappears about the time the film hits the bumps.

Tom Hanks is very good in the lead. He manages not to get overshadowed by Bruce Dern and Rick Ducommun, who are a lot wackier. Wendy Schaal’s good as Dern’s wife (she too disappears though) and Brother Theodore is hilarious as one of the villains. Corey Feldman is a tad broad… and looks a little old for a teenager.

Amazing Jerry Goldsmith score.

With its marvelous Dante direction, The 'burbs is almost a success.

CREDITS

Directed by Joe Dante; written by Dana Olsen; director of photography, Robert M. Stevens; edited by Marshall Harvey; music by Jerry Goldsmith; production designer, James H. Spencer; produced by Larry Brezner and Michael Finnell; released by Universal Pictures.

Starring Tom Hanks (Ray Peterson), Bruce Dern (Lt. Mark Rumsfield), Carrie Fisher (Carol Peterson), Rick Ducommun (Art Weingartner), Corey Feldman (Ricky Butler), Wendy Schaal (Bonnie Rumsfield), Henry Gibson (Dr. Werner Klopek), Brother Theodore (Uncle Reuben Klopek), Courtney Gains (Hans Klopek) and Gale Gordon (Walter Seznick).

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Posted in 1989, Color, Comedy, English, Horror, Thriller, Universal Pictures, USA

Tagged Brother Theodore, Bruce Dern, Carrie Fisher, Corey Feldman, Courtney Gains, Dana Olsen, Gale Gordon, Henry Gibson, James H. Spencer, Jerry Goldsmith, Joe Dante, Larry Brezner, Marshall Harvey, Michael Finnell, Rick Ducommun, Robert M. Stevens, Tom Hanks, Wendy Schaal

Small Soldiers (1998, Joe Dante)

Posted on 28 November 2011 | Leave a comment

I remember liking Small Soldiers the first time I saw it. I was wrong.

This time watching it, all I could think about was how Dante and DreamWorks studio chief Steven Spielberg ignored they had a terrible script.

Of course, Dante still does a good job. He has a fantastic Bride of Frankenstein homage, which brings up the target audience–along with the action figures being effectively voiced by the Spinal Tap and Dirty Dozen casts.

The casting has some problems. Kevin Dunn plays Gregory Smith’s father (prepping for Transformers in the distant future no doubt) and he’s really bad. Dunn’s usually good, but his character is just too terribly written for him to work with it. All of the characters are terribly written–except maybe David Cross and Jay Mohr’s characters, who are disposable and funny.

Smith is supposed to be playing a problem teenager–it’s never explained why, but presumably has something to with Dunn’s bad parenting. Smith and Kirsten Dunst are supposed to be fifteen–too young to drive–and they show the real problem. Small Soldiers is a kid’s movie made by people who don’t know how to dumb it down enough.

Dunst’s actually okay. Denis Leary does his schtick. Phil Hartmann’s great. Wendy Schaal is wasted. Dick Miller’s got a good part. Ann Magnuson has some excellent scenes.

It works best as a showcase for outstanding practical and CG effects. Thinking about the movie just hurts one’s head, especially when they get into the science.

CREDITS

Directed by Joe Dante; written by Gavin Scott, Adam Rifkin, Ted Elliot and Terry Rossio; director of photography, Jamie Anderson; edited by Marshall Harvey and Michael Thau; music by Jerry Goldsmith; production designer, William Sandell; produced by Michael Finnell and Colin Wilson; released by DreamWorks Pictures.

Starring Gregory Smith (Alan Abernathy), Kirsten Dunst (Christy Fimple), Phil Hartman (Phil Fimple), Kevin Dunn (Stuart Abernathy), Ann Magnuson (Irene Abernathy), Wendy Schaal (Marion Fimple), David Cross (Irwin Wayfair), Jay Mohr (Larry Benson), Dick Miller (Joe) and Denis Leary (Gil Mars).

Starring Frank Langella (Archer), Tommy Lee Jones (Chip Hazard), Ernest Borgnine (Kip Killagin), Jim Brown (Butch Meathook), Bruce Dern (Link Static), Sarah Michelle Gellar (Gwendy Doll), Christopher Guest (Slamfist / Scratch-It), George Kennedy (Brick Bazooka), Michael McKean (Insaniac / Freakenstein), Christina Ricci (Gwendy Doll), Harry Shearer (Punch-It) and Clint Walker (Nick Nitro).

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Posted in 1998, Action, Adventure, Color, Comedy, DreamWorks Pictures, English, Family, Sci-Fi, USA

Tagged Adam Rifkin, Ann Magnuson, Bruce Dern, Christina Ricci, Clint Walker, Colin Wilson, David Cross, Denis Leary, Dick Miller, Ernest Borgnine, Frank Langella, Gavin Scott, George Kennedy, Gregory Smith, Harry Shearer, Jamie Anderson, Jay Mohr, Jerry Goldsmith, Jim Brown, Joe Dante, Kevin Dunn, Kirsten Dunst, Marshall Harvey, Michael Finnell, Michael McKean, Michael Thau, Phil Hartman, Sarah Michelle Gellar Christopher Guest, Ted Elliot, Terry Rossio, Tommy Lee Jones, Wendy Schaal, William Sandell

Alien (1979, Ridley Scott)

Posted on 26 August 2011 | Leave a comment

Can you even watch Alien if you have epilepsy?

After about a hundred minutes of elegant direction, Scott relies on this strobe effect for the remainder of the film’s running time. Yes, it makes a disquieting effect, but it gets old in a few minutes and he uses it for at least fifteen. And, strobe effect or not, it does not disguise the strange inadequacy of the climatic threat resolution shot. The special effects—after two hours of great ones—are all of a sudden pedestrian. It’s like Scott gave up.

Luckily, Jerry Goldsmith saves the day with a lift from Howard Hanson and all is reasonably well.

The first hour of Alien is very different from the second. It’s a group film, with Scott not really concentrating on any one actor more than another (except Veronica Cartwright, who’s clearly at the back of the line). In fact, traditionally speaking, the filmmaking implies John Hurt is going to be the lead from his introduction. But the background activity—what the cast members who aren’t the focus of scenes are doing—is what makes the film so striking. Whether it’s “real” or not, Alien’s supporting cast gives the impression of being deep characters. It’s something of an illusion, but it doesn’t much matter. The unsuccessful finish saves them.

While Sigourney Weaver is really strong, Yaphet Kotto and Ian Holm might be stronger. She’s best with the other actors. And Tom Skerritt can’t be discounted.

Alien’s mostly masterful, which counts for something.

CREDITS

Directed by Ridley Scott; screenplay by Dan O’Bannon, based on a story by O’Bannon and Ronald Shusett; director of photography, Derek Vanlint; edited by Terry Rawlings and Peter Weatherley; music by Jerry Goldsmith; production designer, Michael Seymour; produced by Gordon Carroll, David Giler and Walter Hill; released by 20th Century Fox.

Starring Tom Skerritt (Dallas), Sigourney Weaver (Ripley), Veronica Cartwright (Lambert), Harry Dean Stanton (Brett), John Hurt (Kane), Ian Holm (Ash) and Yaphet Kotto (Parker).

Alien series:

Alien vs. Predator series:

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Posted in 1979, 20th Century Fox, Color, English, Horror, Sci-Fi, Spanish, UK, USA

Tagged Dan O'Bannon, David Giler, Derek Vanlint, Gordon Carroll, Harry Dean Stanton, Ian Holm, Jerry Goldsmith, John Hurt, Michael Seymour, Peter Weatherley, Ridley Scott, Ronald Shusett, Sigourney Weaver, Terry Rawlings, Tom Skerritt, Veronica Cartwright, Walter Hill, Yaphet Kotto

Total Recall (1990, Paul Verhoeven)

Posted on 20 July 2011 | 2 Comments

Total Recall opens with some of the best music Jerry Goldsmith has ever scored. It then moves on to a sci-fi sequence, set on Mars, and Verhoeven soon gets in his first animatronic head. There are a lot of animatronic heads, which get exposed to atmosphere and explode or get turned into grenades and so on. Some of these sequences are entirely unnecessary and it’s just Verhoeven showing off.

Most of Recall is along those lines. It’s Verhoeven showing off. He mixes a rough, violent action picture with a high-minded sci-fi story and the result is rather successful. There are a handful of bad performances, but Schwarzenegger’s fine in the lead and the movie’s mostly him so it works out. There are also a bunch of good performances; while they can’t overcome the bad ones, they help.

Worst are Sharon Stone and Michael Ironside. Stone’s just plain bad, nothing special, but Ironside’s in a spot in Recall. He’s this big heavy (supposedly) but he’s opposite Ronny Cox, who knows how to play a big heavy. Ironside gets chewed up in their scenes together.

Mel Johnson Jr. is fairly awful, but Rachel Ticotin is all right. Marshall Bell and Ray Baker are great.

The film’s greatest asset is Verhoeven. He manages to make it a slyly absurdist comedy. With editors Frank J. Urioste and Carlos Puente, he constructs these wonderful tight scenes. His composition isn’t particularly thoughtful; he’s utilizing forceful action in the shots.

It’s pretty darned good.

CREDITS

Directed by Paul Verhoeven; screenplay by Ronald Shusett, Dan O’Bannon and Gary Goldman, based on a screen story by Shusett, O’Bannon and Jon Povill and a short story by Philip K. Dick; director of photography, Jost Vacano; edited by Frank J. Urioste and Carlos Puente; music by Jerry Goldsmith; production designer, William Sandell; produced by Shusett and Buzz Feitshans; released by Carolco Pictures.

Starring Arnold Schwarzenegger (Douglas Quaid), Rachel Ticotin (Melina), Sharon Stone (Lori), Ronny Cox (Vilos Cohaagen), Michael Ironside (Richter), Marshall Bell (George), Mel Johnson Jr. (Benny), Michael Champion (Helm), Roy Brocksmith (Dr. Edgemar) and Ray Baker (Bob McClane).