DID YOU READ

Shelf Life: Arnold Schwarzenegger’s “Total Recall”

Arnold Schwarzenegger in Total Recall

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“At that age” movies are not just a phenomenon that I’ve mentioned (or coined, perhaps) before in Shelf Life columns, they’re almost literally the reason for it at all. There’s a whole universe of films we see when we’re kids, adolescents, or during other formative moments in our lives that stick with us or mean something. Needless to say that doesn’t mean they’re good, no matter how much we love them. But one part of being an adult is distinguishing between the things we embrace emotionally, and the things we process intellectually.

All of which brings us to “Total Recall.” In 1990, I was 14 years old, and by then I’d been introduced to the world of R-rated entertainment, and in particular the oeuvre of Arnold Schwarzenegger. He was in so many ways – including literally – larger than life, and his films kind of exploded in my brain as a kind of adult escapism that I’d never encountered before. Nevertheless, my mom had to buy my ticket for “Recall,” but it became yet another watershed moment in my evolution as a moviegoer. With the release of a remake and a spanking-new Blu-ray this week, it seemed like high time to revisit the film and see whether my halcyon memories held up.


The Facts:

After opening on June 1, 1990, “Total Recall” was a massive hit upon its release, earning more than $260 million during its theatrical run. Its development was a labyrinth of false starts and revisions: David Cronenberg and Dino DeLaurentis were both attached at different times in the 1980s, before screenwriters Ronald Shusett and Dan O’Bannon finally found a game collaborator in Paul Verhoeven. Verhoeven recruited several of his former collaborators, including actor Ronny Cox to play Cohaagen, cinematographer Jost Vacano and special effects designer Rob Bottin, who effectively used this film as a showcase for some of the last miniature and practical effects the industry would use before the advent of CGI permanently changed special effects.

Bottin, Eric Brevig, Tim McGovern and Alex Funke received Oscars – an Academy Special Achievement Award for visual effects. The film was also nominated for Academy Awards for Best Sound Effects Editing, and Best Sound.Meanwhile, the film maintains an 81 percent positive rating on Rotten Tomatoes.


What Still Works:

Viscerally, “Total Recall” is still a blast. Verhoeven, coming off of “Robocop,” was working on all cylinders as a purveyor of gritty, gruesome action that actually possessed a thoughtful undercurrent, and like its predecessor, “Recall” satirizes consumerism, totalitarian control as well as examines man’s control of his own body. The action is spectacularly violent – so much so that I literally remember reading local reviews talking about its violent content – but the glib and almost fun way that it indulges this not only resembles the tone of the action in “Robocop,” but enhances the audience’s embrace of such exaggerated and fantastical scenarios.

By 1990, Schwarzenegger was one of the biggest stars in the world, and he’d eased into a screen persona that didn’t seem altogether far from his real personality – or at the very least, didn’t require him to do a lot of heavy lifting, at least acting-wise. But as Roger Ebert observes in his review of the remake, Schwarzenegger’s lumbering presence really complements this film’s underlying concepts in an odd way, because he seems disoriented in a world (cinematically speaking) that functions so cerebrally. That’s not to say that Schwarzenegger gives a bad performance, or he’s unconvincing in the role, but that as Douglas Quaid, the actor is at once comfortable commanding the screen and out of his element working with material that’s intellectually more complex than most of what he’d done before.

Finally, the greatest thing about “Total Recall” is that it’s entirely possible that everything that happens in the film is in fact straightforward fulfillment of the “ego trip” Quaid pays for when he visit Rekall. As Malena, Rachel Ticotin appears on the viewscreen when he’s choosing a companion for his vacation. He asks to go to Mars as a secret agent deep undercover who finds himself on the run from killers. And in the end, he saves the planet and gets the girl. Even the backgrounds and landscapes of Mars are viewed in the Rekall sequence, giving further credence to the possibility that he’s simply acting out his fantasy and the story is not as multi-layered as it otherwise seems.


What Doesn’t Work:

Although the special effects are slightly outdated – especially in an era of CGI – the practical make-up and other prosthetics are all top-notch, so I suppose that isn’t necessarily a complaint. The film is oddly bright in its photography which seems to undermine the rest of its detail and style, but it’s also a film which seems eager to hold nothing back and almost create a cartoonish, exaggerated depiction of this fantastical world.


What’s the Verdict:

“Total Recall” may or may not be a movie that newcomers to it embrace, at least if they’re more conventionally familiar with current special effects techniques and/or the more gritty and humanized approach of modern action movies. But everything that worked in 1990 continues to work now, and it retains all of the entertainment value it ever held, thanks in no small part to the collaboration between Schwarzenegger and Verhoeven. Ultimately, the film is a smart, fun, exciting and engaging sci-fi adventure that examines some deeper ideas – from biological to philosophical – without becoming either simplistic or didactic. In short, “Total Recall” is a great film, which is the only reason why it should even be considered for a remake – to get to recall all of those great qualities all over again.

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SO EXCITED!!!

Reminders that the ’90s were a thing

"The Place We Live" is available for a Jessie Spano-level binge on Comedy Crib.

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Unless you stopped paying attention to the world at large in 1989, you are of course aware that the ’90s are having their pop cultural second coming. Nobody is more acutely aware of this than Dara Katz and Betsy Kenney, two comedians who met doing improv comedy and have just made their Comedy Crib debut with the hilarious ’90s TV throwback series, The Place We Live.

IFC: How would you describe “The Place We Live” to a fancy network executive you just met in an elevator?

Dara: It’s everything you loved–or loved to hate—from Melrose Place and 90210 but condensed to five minutes, funny (on purpose) and totally absurd.

IFC: How would you describe “The Place We Live” to a drunk friend of a friend you met in a bar?

Betsy: “Hey Todd, why don’t you have a sip of water. Also, I think you’ll love The Place We Live because everyone has issues…just like you, Todd.”

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IFC: When you were living through the ’90s, did you think it was television’s golden age or the pop culture apocalypse?


Betsy: I wasn’t sure I knew what it was, I just knew I loved it!


Dara: Same. Was just happy that my parents let me watch. But looking back, the ’90s honored The Teen. And for that, it’s the golden age of pop culture. 

IFC: Which ’90s shows did you mine for the series, and why?

Betsy: Melrose and 90210 for the most part. If you watch an episode of either of those shows you’ll see they’re a comedic gold mine. In one single episode, they cover serious crimes, drug problems, sex and working in a law firm and/or gallery, all while being young, hot and skinny.


Dara: And almost any series we were watching in the ’90s, Full House, Saved By the Bell, My So Called Life has very similar themes, archetypes and really stupid-intense drama. We took from a lot of places. 

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IFC: How would you describe each of the show’s characters in terms of their ’90s TV stereotype?

Dara: Autumn (Sunita Mani) is the femme fatale. Robin (Dara Katz) is the book worm (because she wears glasses). Candace (Betsy Kenney) is Corey’s twin and gives great advice and has really great hair. Corey (Casey Jost) is the boy next door/popular guy. Candace and Corey’s parents decided to live in a car so the gang can live in their house. 
Lee (Jonathan Braylock) is the jock.

IFC: Why do you think the world is ready for this series?

Dara: Because everyone’s feeling major ’90s nostalgia right now, and this is that, on steroids while also being a totally new, silly thing.

Delight in the whole season of The Place We Live right now on IFC’s Comedy Crib. It’ll take you back in all the right ways.

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New Nasty

Whips, Chains and Hand Sanitizer

Turn On The Full Season Of Neurotica At IFC's Comedy Crib

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Jenny Jaffe has a lot going on: She’s writing for Disney’s upcoming Big Hero 6: The Series, developing comedy projects with pals at Devastator Press, and she’s straddling the line between S&M and OCD as the creator and star of the sexyish new series Neurotica, which has just made its debut on IFC’s Comedy Crib. Jenny gave us some extremely intimate insight into what makes Neurotica (safely) sizzle…

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IFC: How would you describe Neurotica to a fancy network executive you met in an elevator?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon.

IFC: How would you describe Neurotica to a drunk friend of a friend you met in a bar?

Jenny: Neurotica is about a plucky Dominatrix with OCD trying to save her small-town dungeon. You’re great. We should get coffee sometime. I’m not just saying that. I know other people just say that sometimes but I really feel like we’re going to be friends, you know? Here, what’s your number, I’ll call you so you can have my number!

IFC: What’s your comedy origin story?

Jenny: Since I was a kid I’ve dealt with severe OCD and anxiety. Comedy has always been one of the ways I’ve dealt with that. I honestly just want to help make people feel happy for a few minutes at a time.

IFC: What was the genesis of Neurotica?

Jenny: I’m pretty sure it was a title-first situation. I was coming up with ideas to pitch to a production company a million years ago (this isn’t hyperbole; I am VERY old) and just wrote down “Neurotica”; then it just sort of appeared fully formed. “Neurotica? Oh it’s an over-the-top romantic comedy about a Dominatrix with OCD, of course.” And that just happened to hit the buttons of everything I’m fascinated by.

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IFC: How would you describe Ivy?

Jenny: Ivy is everything I love in a comedy character – she’s tenacious, she’s confident, she’s sweet, she’s a big wonderful weirdo.

IFC: How would Ivy’s clientele describe her?

Jenny:  Open-minded, caring, excellent aim.

IFC: Why don’t more small towns have local dungeons?

Jenny: How do you know they don’t?

IFC: What are the pros and cons of joining a chain mega dungeon?

Jenny: You can use any of their locations but you’ll always forget you have a membership and in a year you’ll be like “jeez why won’t they let me just cancel?”

IFC: Mouths are gross! Why is that?

Jenny: If you had never seen a mouth before and I was like “it’s a wet flesh cave with sharp parts that lives in your face”, it would sound like Cronenberg-ian body horror. All body parts are horrifying. I’m kind of rooting for the singularity, I’d feel way better if I was just a consciousness in a cloud.

See the whole season of Neurotica right now on IFC’s Comedy Crib.

The-Craft

The ’90s Are Back

The '90s live again during IFC's weekend marathon.

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Photo Credit: Everett Digital, Columbia Pictures

We know what you’re thinking: “Why on Earth would anyone want to reanimate the decade that gave us Haddaway, Los Del Rio, and Smash Mouth, not to mention Crystal Pepsi?”

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Thoughts like those are normal. After all, we tend to remember lasting psychological trauma more vividly than fleeting joy. But if you dig deep, you’ll rediscover that the ’90s gave us so much to fondly revisit. Consider the four pillars of true ’90s culture.

Boy Bands

We all pretended to hate them, but watch us come alive at a karaoke bar when “I Want It That Way” comes on. Arguably more influential than Brit Pop and Grunge put together, because hello – Justin Timberlake. He’s a legitimate cultural gem.

Man-Child Movies

Adam Sandler is just behind The Simpsons in terms of his influence on humor. Somehow his man-child schtick didn’t get old until the aughts, and his success in that arena ushered in a wave of other man-child movies from fellow ’90s comedians. RIP Chris Farley (and WTF Rob Schneider).

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Teen Angst

In horror, dramas, comedies, and everything in between: Troubled teens! Getting into trouble! Who couldn’t relate to their First World problems, plaid flannels, and lose grasp of the internet?

Mainstream Nihilism

From the Coen Bros to Fincher to Tarantino, filmmakers on the verge of explosive popularity seemed interested in one thing: mind f*cking their audiences by putting characters in situations (and plot lines) beyond anyone’s control.

Feeling better about that walk down memory lane? Good. Enjoy the revival.

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And revisit some important ’90s classics all this weekend during IFC’s ’90s Marathon. Check out the full schedule here.