Every film requires some suspension of disbelief, but there is a limit before "interesting" verges on "campy." The concept of Rekall, where artificial memories of a vacation are implanted, is interesting enough to merit its own movie, as the opposite idea did in&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Eternal-Sunshine-of-the-Spotless-Mind/dp/B001TAJGO6/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Eternal Sunshine of the Spotless Mind</a>. Instead of erasing the memory of unpleasant events, people would submit to the addition of fake memories of pleasant events. This could lead to philosophical musings on the nature of the self, the stream of consciousness, and whether this makes a difference - if it matters whether a memory is of a "real" event or an artificial one, if it's impossible to tell the difference.

Instead, this is just an introduction for an extended chase, shoot-em-up spy thriller. There are some great special effects for the time - Schwarzenegger removing a golf ball-sized tracking device from his nose, a costume head that forms horizontal slices as it comes apart, the clear outline of a gun against a skeleton on a spaceport monitor. In this future world, the trip from earth to Mars is so routine as to need not a single frame; we go straight from one planet to the other with no intervening travel time, not even one shot of the inside of a spaceship. Once on Mars, the chase is on, in a world ruled by a dictator who turns people into mutants by denying them sufficient air and protection from radiation.

Mel Johnson, Jr.'s character seems to start off as a "magical negro," however, he quickly morphs into a shuckin'-and-jivin' clown before finishing as a treasonous villain. A vicious martial-arts battle between the lovely Sharon Stone and Rachel Ticotin was groundbreaking for the time - two hot chicks fighting! It's almost as good as lesbian porn. The ending trumps everything that came before it, however - we are asked to believe that the sudden development of an atmosphere would not result in cataclysmic storms; it's no more violent than the effect of putting on a scuba mask.

Valuable only as a "classic" (if you're into science fiction, Arnold Schwarzenegger, or both), this can be recommended to anyone who has committed to seeing every film ever made.
Every film requires some suspension of disbelief, but there is a limit before "interesting" verges on "campy. " The concept of Rekall, where artificial memories of a vacation are implanted, is interesting enough to merit its own movie, as the opposite idea did in&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Eternal-Sunshine-of-the-Spotless-Mind/dp/B001TAJGO6/ref=cm_cr_arp_d_rvw_txt? ie=UTF8">Eternal Sunshine of the Spotless Mind</a>. Instead of erasing the memory of unpleasant events, people would submit to the addition of fake memories of pleasant events. This could lead to philosophical musings on the nature of the self, the stream of consciousness, and whether this makes a difference - if it matters whether a memory is of a "real" event or an artificial one, if it's impossible to tell the difference. Instead, this is just an introduction for an extended chase, shoot-em-up spy thriller. There are some great special effects for the time - Schwarzenegger removing a golf ball-sized tracking device from his nose, a costume head that forms horizontal slices as it comes apart, the clear outline of a gun against a skeleton on a spaceport monitor. In this future world, the trip from earth to Mars is so routine as to need not a single frame; we go straight from one planet to the other with no intervening travel time, not even one shot of the inside of a spaceship. Once on Mars, the chase is on, in a world ruled by a dictator who turns people into mutants by denying them sufficient air and protection from radiation. Mel Johnson, Jr. 's character seems to start off as a "magical negro," however, he quickly morphs into a shuckin'-and-jivin' clown before finishing as a treasonous villain. A vicious martial-arts battle between the lovely Sharon Stone and Rachel Ticotin was groundbreaking for the time - two hot chicks fighting! It's almost as good as lesbian porn. The ending trumps everything that came before it, however - we are asked to believe that the sudden development of an atmosphere would not result in cataclysmic storms; it's no more violent than the effect of putting on a scuba mask. Valuable only as a "classic" (if you're into science fiction, Arnold Schwarzenegger, or both), this can be recommended to anyone who has committed to seeing every film ever made.