I never cared for the original Total Recall from director Paul Verhoeven. It has always come off as a little too low grade and too strange for my aesthetic tastes. So, I had no qualms about this remake or re-adaptation of Philip K. Dick’s short story “We Can Remember It For You Wholesale.” Plus, trading the corny camp fun of Verhoeven’s movie for a more serious action thriller tone does more consistently appeal to my tastes. Although, I also did not have high expectations for this movie. The film seemed mildly worth checking out, and it turns out to be just exactly that. It’s surely not a bad film by any stretch, just an underdeveloped one that fails to truly grab hold of an audience tightly.
In the late twenty-first century, global chemical warfare has made the vast majority of the world uninhabitable, and Earth is divided into two superpowers, the United Federation of Britain and The Colony, who are locked in a battle for supremacy to unify the world. Citizens of The Colony and the UFB travel between the two nations via a super massive underground gravity elevator, called “The Fall”, which takes them directly through the core of the Earth, emerging on the opposite side of the planet in under 20 minutes. Douglas Quaid (Colin Farrell) is a factory worker who, despite having a beautiful, loving wife in Lori (Kate Beckinsale), is plagued by violent nightmares and has grown tired of his monotonous life in The Colony. Welcome to Rekall, the company that can turn your dreams into real memories. For Quaid, the mind-trip sounds like the perfect vacation from his frustrating life – real memories of life as a super-spy might be just what he needs. However, when the procedure goes horribly wrong, Quaid becomes a hunted man. His wife tries to kill him revealing herself to be a highly trained undercover UFB agent. Finding himself on the run from the police – controlled by Chancellor Cohaagen (Bryan Cranston), the leader of the free world – Quaid teams up with rebel fighter Melina (Jessica Biel) to find Matthias, the head of the underground resistance (Bill Nighy), and stop Cohaagen. The line between fantasy and reality gets blurred and the fate of his world hangs in the balance as Quaid discovers his true identity, his true love, and his true fate.
This film showcased some potential. I think it had some very good talents behind it, and a solid, fresh direction on where to go with itself. As I said, there is nothing outright bad about this Total Recall. The action is sensational most times. There are very inventive action sequences all over this film backed up by some mostly excellent cinematography and editing. There are few hectic moments where it gets close to that shaky-cam quick cut mentality, but backs off it enough to avoid raising my ire. The more physically demanding action set pieces are greatly conceived and executed. Director Len Wiseman has always believed in doing stunts and effects as much practically as possible, and that always adds more punch to his action. Everything looked like real people doing real stunts, and that is immensely admirable. More effects heavy sequences are also nicely done with no CGI ever looking cheap. The visual effects teams did a remarkable job creating a very realistic, seamless futuristic world. Even the robotic soldiers appeared entirely photorealistic and interacted with the actual actors naturally. However, despite this, I couldn’t really get into the film like a normal action movie. Despite seeing it on opening night, the very large theatre I was in was barely one quarter full, if that much, and no one else ever seemed to have any rousing reaction to what was happening in the movie. It’s not the action that’s the issue, it’s the underdeveloped characters.
I don’t necessarily feel anyone was miscast in the film. I do feel that the screenplay did very little to develop Colin Farrell’s Douglas Quaid or any of the other protagonists. The beginning of the film is nicely setup as most anyone can relate to Quaid’s situation. He’s an everyman that’s a slave to the grind who just has the need for something more in his life, some kind of release. You can really sympathize with him through this part of the film as every element of it is wonderfully executed with the right emotional touches. However, once the plot kicks in, and he is thrust into this intense situation where he doesn’t know what’s happening or why, his character becomes terribly lacking in development or depth. The film has little moments here and there that try to have the audience connect with Quaid, but it’s just never enough. These moments just fall a little too flat because there’s no real substance behind them. Colin Farrell can be charismatic and very fun in the right roles. He does have the ability to give a very strong, dimensional, and entertaining performance. However, the script just doesn’t give his character enough depth for Farrell to sink his talent into. I never got all the way invested in Quaid to feel the peril or excitement of the situations he was in. I truly tried because I wanted to enjoy this movie, but these characters are not exciting. You never get into the soul of this character to feel his struggle, or wrap yourself up in his potential mind-bending confusion. While the action sequences are excellent, I just couldn’t get emotionally invested to care all that much of what happened in them.
The exact same goes for Jessica Biel as Melina. She’s supposed to be the love interest to Quaid’s alter ego, but there’s no spark present. The screenplay almost never gives the characters a moment to connect for the audience’s sake. I never felt a single strand of emotional bond between the characters, and that’s such a sorely missed opportunity to give the film some emotional substance. It’s so hard to even say whether or not Farrell and Biel have any chemistry together because the love interest angle is barely played up at all to know that. It’s really just 98% action sequences between them, and 2% character development. Even beyond that, the Melina character just doesn’t bring anything substantive to the table. Again, there is no emotional depth or scripted material to offer up an exciting performance. I was left with a rather blank impression of the character. Again, I don’t think the fault falls on Jessica Biel, it’s a failing of the script.
I also strongly believe that Bill Nighy was criminally underused in this film. His character of Matthias is meant to be an integral figure in this world, but he has essentially one scene which is not written the best it could have been. Matthias talks some philosophy about self-identity, but it’s very abrupt and clunky how the conversation starts. There’s no natural flow to it. It’s clear that his words are meant to have some meaning, but ultimately, become terribly hollow as the film explores none of the ideas he brings up. It feels very shoehorned in as a quick attempt to make him an insightful character, but it just came off as rushed and purposeless. I anticipated a more poignant and climactic meeting between Quaid and Matthias. I anticipated it being a scene where we learn more in depth about the man that Quaid was to gain perspective on the dichotomy between who he is now and who he was before. It would be a pivotal moment where Quaid has to make a real decision on who he wants to be, and what path he wants to take from here on out. No such moment exists in this film. The screenwriters seemed to give the minimal effort towards the conflict of identity in Douglas Quaid. There’s more confusion from him over the grand scheme plot than his own internal conflict, which is a gross missed opportunity in a film that seemed to have a lot of potential on the surface. It was also distracting that Bill Nighy put on an American accent for this role, which seems to have had no true purpose. He is also greatly low key. One would think that the leader of a resistance movement would be a naturally charismatic or inspiring individual, but Nighy plays Matthias with none of those qualities. I will say that it’s a nice change of pace to see the usually more intense and theatrical Nighy put forth a more reserved performance, but it just didn’t seem to fit here.
Conversely, the villains of this film are greatly charismatic, energetic, and very enjoyable. Kate Beckinsale is easily the best thing about the movie. Her scenes at the beginning as Doug’s wife are very heartfelt and genuine. There is no question about the authenticity of their relationship and love. However, once everything turns around on itself, she becomes an amazing villain. She drops her American accent and plunges full into her natural British one with a wealth of devilish charisma and dogged motivation. Lori loves the violent requirements of her job, and takes great, ruthless pleasure in hunting down her prey. Beckinsale can kick ass with the best of them as she is involved in some fantastic and stunningly impressive fight scenes which are very physically demanding. It’s amazing what she does in this vicious and entertaining role. She just eats up every ounce of villainy, and clearly has a wealth of fun in the process. I consistently loved what the film did with her right from the start all the way through to the end. I can’t say enough about Beckinsale’s performance here.
Also, Bryan Cranston just storms into the film with authority and charisma. He portrays a great bad guy in Cohaagen. He throws a lot of power into the character making him a force to contend with. You don’t need much convincing that Cohaagen is a cutthroat, menacing bad guy. He unquestionably feels like a man in power, a man in control that has some very sordid and diabolical plans setup. This is a role that could have easily gone over the top, but Cranston keeps the character grounded and realistic, as do all the actors. No one ever indulges in cheesy or corny contrivances. Tonally, it’s a far more serious and straight forward movie than the 1990 Arnold Schwarzenegger version. That’s a refreshing take, and all the actors really grasp onto that cohesively. It is great that the villains are very formidable and enjoyable, but when the heroes are downplayed so much, it really takes the overall entertainment value out of the movie. Had the heroes been as exciting and entertaining as the villains, this would be an immensely fun movie.
I noticed this next thing from the trailer, and it started to hit me more as the film got going. Total Recall seems almost like a science fiction version of The Bourne Identity. How Quaid just instinctually takes down all the armored police is dead-on to how Jason Bourne assaults the two police officers in the snowy park early on in The Bourne Identity. There’s even a secretly hidden safety deposit box number where Quaid goes to obtain passports and other spy trade gear, just like in The Bourne Identity. There are more vague connections here and there, but this issue dissolves quickly after the safety deposit box scene. It’s not something that really bothers me much now, but more something that snagged my scrutiny in the moment.
Again, the film mainly takes place in two different locations. The early part of the film is largely contained within the Colony, and I love the production design of it. It was nice to see Len Wiseman break out of his monotone funk, and give us a more varied, yet still restrained color palette. The Colony is almost always seen at night with shadowy lighting schemes which give the film a dark richness. Colors are not vibrant, but they have a strong atmospheric presence. Blues, greens, reds, and ambers accented by moody lighting really were a pleasure for my eyes. Everything had a seedy, almost noir quality to it. Considering this is all based on a work by Philip K. Dick, it’s no surprise that there is some Blade Runner feel to the design of this world, but it has plenty of fresh ideas to offer as well. The design of the city’s housing comes off as very utilitarian and modular that is continually built upwards. It looks very logical as a world that could practically exist in our own possible future. It also certainly makes for a great design element for the film’s early chase sequences as Doug Quaid is constantly falling downwards to street level as it progresses. However, it did seem odd that while the Colony actually used to be Australia, everything about the culture seemed more like Tokyo, Bangkok, or Singapore. I think it’s an amazing world that was created, but nothing is ever explained why Australia now has a predominantly Asian cultural aesthetic.
The United Federation of Britain has a far cleaner, but also sterile and bland design. While the film starts off with a very moody and dark visual style, it now loses a great deal of visual pop when moving into the UFB. Those scenes are almost entirely during the daytime, and I do very much understand and endorse showing the visual differences between the low class Colony and the more prosperous UFB. I just think a little more color could’ve gone a long way to improve the visual flare of this portion of the film. Everything is very white, very clinical making a lot of locales very indistinct. There’s no character or personality to anything in this environment. Much of this is meant to be London of the future, and that is definitely a city with a lot of cultural personality today. So, it would’ve helped to reflect some of that in these designs since the bulk of the movie takes place there. As it is, after a while, it all just blends into forgettable backgrounds.
Regardless of these production design choices, director of photography Paul Cameron does an amazing job shooting this film. It looks very slick and smart all the way through. His cinematography showcases a great sense of geography and composition in the hectic action sequences, and brings fine visual credibility to the dramatic scenes. It’s very beautifully shot and lit all the way around giving us a film that shows us where the money went. I truly got a wonderful cinematic visual sense from this movie.
Everything in these worlds is smartly designed. The robotic soldiers, the hover cars, the weaponry, and computer interfaces all appear to be part of a cohesive world. With this futuristic Earth being what it is, there are likely very few corporations or manufacturers, and so, much of this technology would likely be produced and designed by the same organizations. Everything has a practical and logic design to it. Nothing’s overcomplicated or ridiculous, which some future-based movies can lose sight of sometimes.
However, ultimately, it all has to come back to the script. I think Total Recall could’ve done with a little less action and little more time spent focusing on the plot. The action seems to just whisk an audience away to another part of the plot instead of the plot developing itself. We get explanations and motivations, but the details of this world are never fleshed out. We never get the true sense of division between the Colony and the UFB. We don’t get to know how both worlds live, and what the true cultural divisions are between them. We never learn if there’s a deep seeded resentment between the two, and “The Fall” is not given any poignancy by the characters. They never comment on it being a “symbol of oppression.” That’s only ever stated by news people in the film, and the film shows how the media is easily manipulated. While the Colony does feel like a lower class lifestyle, I never got the sense from the characters that it was an oppressive society let alone why a resistance movement was necessary. The story also never gives us a sense of breadth or impact on a larger scale. I didn’t really fear for the residents of the Colony later on when there’s a invasion force on its way. The film doesn’t take the time to build up the threat level to a fever pitch, or give us a foreboding sense of dread. The focus is too narrow and too shallow to make the stakes feel big enough. Total Recall had the tools and talent in most areas to develop these issues with some purpose and depth, but really didn’t push for it. Screenwriters Kurt Wimmer and Mark Bomback have done work on films that I have very highly enjoyed. Wimmer co-wrote The Thomas Crown Affair remake and Street Kings while Mark Bomback wrote the Hugh Jackman / Ewan McGregor thriller Deception and did re-writes on Constantine. So, I know they have potential for producing more well rounded and satisfying scripts, but Total Recall feels too focused on action and not enough on substance. That would likely make for a thrilling video game with elaborate action sequences, one different than the last with a lot of unique obstacles, but only moderately developed story strung between them. It’s certainly not that bad in this film, but you could probably take this exact script and hand it over to a video game developer without changing much.
There is a plot hole that puzzled me in how Cohaagen and his forces were able to locate Matthias. No reason is ever given on if they tracked Quaid and Melina, or even how they might’ve done it since the two of them traveled to meet Matthias via subway and Cohaagen’s forces all flew in. They just happen to be there, somehow, and storm in out of nowhere with no explanations. This is definitely a plot hole that none of the characters attempt to plug up at all. Total Recall doesn’t feel like a film with multiple plot holes, just a film that doesn’t develop it’s plot details or characters as well as it could have.
I’m sure there are those who will find some excitement and fun with this film. The action is marvelously well done and inventive. Len Wiseman has evolved into an excellent director of action. He knows the mechanics of creating solid and thrilling action sequences with competent, coherent editing and cinematography. There are absolutely no flaws at all with those aspects of this film. Leading up to the climax, there’s actually a zero gravity shootout in “The Fall” that was smartly done, but still lacks a sense of wit or rousing action to really rile me up. There’s plenty here to potentially enjoy, but I just never got enough substance from the film’s heroes to feel gung ho about them kicking some ass. Had the script given more time to the characters and developing the details of the world of Total Recall, opening it up for more depth, texture, charm, and emotional dynamics, I likely would’ve highly enjoyed myself. I would not be opposed to a second viewing of the film, but I wouldn’t expect too much of an improvement on my opinion. I would never classify 2012’s Total Recall as a bad movie, just fairly okay one. Its potential really shows on screen, but on the page, it just didn’t deliver.
By no means am I here to say this film is not worth the scorn it has received from day one. Highlander II: The Quickening absolutely conceptually butchered most everything that made the original fantasy adventure film so amazing. However, there are certain elements that people don’t give this film credit for in spite of its storyline and screenplay failings. Of course, it’s one of the worst sequels ever made, and it has more wrong with it than any one reviewer should torture him or herself to detail. So, I am exercising restraint to not scrutinize everything that is wrong with it. While I will blatantly point out why this film was a failure, I do want to give credit to what I feel are highly admirable qualities for the film. However, the bad outweighs any good you can find in this film, and while so many have covered why, it’s time to offer my perspective and insight into this notorious motion picture.
By the end of the 20th century, the Ozone layer has been damaged severely, and Connor MacLeod (Christopher Lambert) is the one who brings all the great minds together to create a protective energy shield around the Earth. However, a quarter century later, humanity lives in a perpetual nighttime world as the sun’s rejuvenating, life-giving rays do not penetrate the shield, and the world is in a state of depression. They’ve lost hope in this dreary world. Because of this, Louise Marcus (Virginia Madsen) and her anti-shield team break into one of the Shield Corporation’s stations, and discover that the radiation above the shield is normal. This means the Ozone layer has healed itself, and the shield is no longer needed. Of course, it is a corporation, and they are just interested in capitalistic greed. Louise is the only one of her team to escape alive. Connor is now an old man, having become mortal after defeating the Kurgan to win ‘The Prize.’ While enjoying a night at the opera, he has flashbacks (similar to those during the wrestling match in the first film), but instead of the Scottish Highlands, he remembers his life as a rebel on the planet Ziest (or from a distant past on Earth, depending on which version you watch). Here is where he met Ramirez (Sean Connery), and battled the evil General Katana (Michael Ironside). For their rebellious acts, they are exiled to different points in time on the planet Earth where they will be immortal, and have to battle other immortals until only one remains. The winner will have the choice to return home to live out the rest of their lives. Despite the fact that MacLeod has been mortal for nearly forty years, and is a matter of months away from inevitable death by natural causes, Katana is not willing to wait any longer to see his enemy die. He sends two comical spiky haired warriors to assassinate Connor, but it backfires making MacLeod immortal again, taking into two Quickenings. One restores his youth, and the other allows him to resurrect Ramirez back in Scotland. By this time, Louise has found Connor in an effort to use his influence to get the shield shut down. Now, with his youth restored, they become sexually involved, and he becomes invested in her mission against the corporation. Meanwhile, Katana decides to dispatch his enemies first hand. He forges an alliance with the major tool that is Shield Corporation CEO David Blake (John C. McGinley) to combat MacLeod, Ramirez, & Louise. With two over the top villains, one more ridiculous than the other, our heroes don’t exactly have their work cutout for them, but that’s the least of this film’s problems.
Okay, this is actually not the worst Highlander film ever made. That dishonor belongs to Highlander: The Source. If you’ve seen it, and I surely hope you have not, I don’t see how you could disagree with that assessment. You thought it was impossible to sink below Highlander II, but you were proven wrong. Regardless of that, here’s why this film is so reviled. At its most basic, this first sequel takes what was pure wondrous fantasy, and turns it into cheap science fiction. There was a simplicity to the mystery behind immortals in what screenwriter Gregory Widen created with Highlander. “It’s a kind of magic,” offered up a sense of charm and wide eyed wonder to the idea. For me, the origin of immortals is unimportant. Through all the other films and the television series, where they came from was never as important as their journey to wherever they were going. The story of Highlander is one of adventure, love, legend, pain, heart, wisdom, and magic on an epic scale that spans countless centuries. Watching how our Clan MacLeod heroes battle through it all, and how it molds them into more seasoned, weathered, and wiser people is what it has all been about. It was never about aliens from another planet, time travel, shield generators replacing the Ozone, or weirdo assassins flying through the air cackling like hyenas. The premise of this sequel was fundamentally flawed from the beginning, and no matter which version you watch, it’s still a failure in that department.
The only thing Highlander II has going for it in its defense is that the production was full of problems, conflicts, money issues, and creative differences. That can explain the clusterfuck of bad execution, but still, people signed on board due to the screenplay and premise that this film was built upon. They have no defense for that. Christopher Lambert supposedly would only do the film if they brought back Sean Connery, and that resulted in a very peculiar resurrection. While Lambert and Connery have fine chemistry which provides the film with a good deal of fun, I have to admit that Ramirez was rather shoehorned into this. The entire film would likely flow along far better without him at all, and make room for more relevant elements to be fleshed out. Ramirez has some decent wisdom to impart that works itself into the story by the end, but it would be easy to write around, if needed. Still, it is good entertainment seeing MacLeod & Ramirez interact on more of an equal footing like friends or brothers instead of the student-teacher relationship they had before. Of course, I could’ve done without the out-of-place excessive humor resulting from Ramirez’s inclusion.
Now, Michael Ironside is indeed a fine actor that is able to stretch out into a wider range than he is typically typecast into. The failing of many Highlander feature film villains is that the screenwriters try to make them carbon copies of the Kurgan. They are given similar crazy scenes, over the top characterizations, and even all their names start with a ‘K’ – Katana, Kane, Kell. The television series ultimately became the real treasure trove of fascinating and original villains including my favorite in Xavier St. Cloud. Here, Katana is hard to take seriously most times. He is over the top, almost badly comical in certain scenes, and all for the wrong reasons. The original film handled its characters with weight and respect. It made them dimensional, textured people, or at least with the Kurgan, formidable and frightening. Katana constantly comes off as the bad guy whose already lost, and is just lashing out because of a bruised ego due to that loss. He seems desperate, and incapable of truly being a singular threat. He’s certainly not intelligent, as the film eventually and blatantly reveals, which I will get back to. He doesn’t have the bravado to truly become the adversary he needs to be to confront and take down MacLeod. I do not lay too much fault on Ironside. This is what the screenwriters and filmmakers gave him, and he did what was demanded of him. Still, I know he’s such a better actor, and definitely capable of being a better villain than this film allows him to be. John C. McGinley is the same way. I have seen him put in so many performances over the last twenty or so years that I know he can do better than this. He has even regretted how he portrayed this role. I am always glad when an actor can look back on their work, and make an objective assessment of what they did wrong.
Lambert is his usual charming self, but I feel all the world weariness and haunting sense of Connor MacLeod was lost. On one hand, I can see him becoming a lighter weight character due to having slain the Kurgan, and come to peace with much of what he’s lost. Still, we see that even more heartache has befallen him since then, and while he demonstrates mourning for it, it doesn’t carry with him throughout the film. Even the accent Christopher used in the first film is abandoned, and frankly, would never reappear with Connor ever again. Still, Connor MacLeod remains a character to invest yourself in. He’s still handled in a decently well rounded fashion. It’s the just the horrible “origin of immortals” scenes that really damage it all. It sort of makes all we knew of who Connor was in the first film nearly inconsequential, not to mention, wholly confusing to a mind boggling degree. That plot point alone creates more contradictions and catastrophic problems with the entire established mythos to the point of wondering, “Why the hell did they go forward with it at all?” And again, why they went back to an “origin of immortals” story with Highlander: The Source when it failed so miserably the first time? Of course, there are no good answers to those questions.
Anyway, Virginia Madsen is probably the only genuine, grounded talent in the whole film. She always turns in a solid, pitch perfect performance, and she does so here. She’s a fine love interest with a dash of action ability. She and Lambert work well together, but not amazingly so. It’s well handled and well played, but there is a missing romantic aspect that I think every Highlander love should have. The entire base concept of Highlander has a very romanticized nature to it. There is a sexual encounter here, but there’s not much intimacy between the characters to really forge a deep emotional connection. There’s just too much plot getting in the way for that, and of course, they needed to shove Sean Connery into the mix to detract from that relationship. You see, for every potentially good idea, there’s something else thrown into the film to detract from it. The potential of the elements that could be used to improve the film are limited to make room for something that brings down the film.
For instance, Russell Mulcahy, in these earlier years, always made gorgeous films with such enveloping cinematography. However, where the first film was able to mostly thrive in practical locations and expansive sets, in this film, the first major action sequence that is supposed to be a large area of the city is confined to a soundstage, and it looks like a soundstage. The scope and scale of it is so small, you can’t help but see the limitations of the production, and it detracts from the visual aspect of the feature. Sequences may be shot with great angles, unique lenses, and inspired camera moves, but you can almost always tell when they shot it on a cramped back lot or soundstage. A real city street has depth and scope with block after block of buildings, skyscrapers, and movement crisscrossing in the distance. It has character from its history and people over the decades and centuries. None of that can be seen here, and it only begins to sell how inferior this sequel is to its predecessor. And even for all the improved practical effects, and more visually impressive Quickenings, the bulk of the visual effects (pre-Special Edition) are not up to standards for a film that came out the same year as Terminator 2: Judgment Day. Regardless, when you get outside of that, and onto the truly beautiful and well designed interior scene sets, the production design and cinematography SHINES. Mulcahy’s music video-born artistry finally comes to glorious life, and you see that classic grand Highlander style manifest itself. The lighting is very theatrical, moody, and atmospheric at times. However, it seems a little heavy on the Blade Runner influence in both lighting and production design. Still, big dolly and crane shots really bring forth that epic, large scale cinematic feel which is why I am attracted to Mulcahy’s 1980s & early 1990s films on through to The Shadow.
The score by Stewart Copeland does have a lot of depth and richness. It is highly orchestral bringing a unique identity to this film as it is quite different from Michael Kamen’s score for the original Highlander. Like with Connor’s character, gone are the haunting or mysterious qualities in the music. And while there is essentially no Queen in the soundtrack, we do get a fine closing credits song from Lou Gramm of Foreigner titled “One Dream.” Gramm formed a band called Shadow King at this time, but it was very short lived. The song is hard to find commercially as no soundtrack was released in the US, but I have come to enjoy “One Dream” as much as any other Highlander musical staple. Now, I’ve always been put off that the final battle between MacLeod & Katana has next to no music behind it at all. Not to mention, it’s a rather brief duel. Anti-climactic indeed. It’s almost as if it’s there because it needs to be, and they just want to wrap up the film as quickly as possible. There’s no epic quality to it, no passionate intensity. It’s a bunch of dull clanging back and forth for a few moments. Still, the score has gained some good respect from the franchise’s fans, and Stewart Copeland is an exceptionally talented and diverse musician from his work as the drummer for The Police on through to many other film and television scores. He surely gave this feature a wide, full sound that may have been more than it deserved. It’s not always entirely to my liking, but I can respect the musical quality and artistry of it.
What I can’t respect is the creative process behind the idea of this movie. Okay. They wanted to do a sequel. That’s understandable, but that’s also the problem. The first film ends definitively. Connor wins ‘The Prize,’ and thus, there are no more immortals left in the world. There’s really no credible way around that ending, and making a prequel about Connor is foolish because there’s no mystery of who would survive. Gregory Widen wrote a fantastic, self-contained screenplay with no allusions for a sequel. Even still, how these filmmakers conjure up the idea of all immortals being aliens from another planet shatters all logic because everything they develop in the sequel contradicts everything from the original film. In later revised cuts of Highlander II, the immortals are changed to being from Earth’s distant, forgotten past. So, now they are time travelers which makes even less sense, but as I concluded sometime ago, there is absolutely no way you can re-cut this film to have either premise make any real sense. Every fiber of this plot is fundamentally flawed from every angle. The plot holes are atrocious, and are blatantly stated by the characters in the movie itself! How do you write a screenplay with such plot holes, do nothing to mend them, but have enough awareness about them to have the characters spell them out in detailed discussion? It sounds like a screenwriting paradox that could unravel the very fabric of the universe, or drive one totally insane trying to make sense of it. MacLeod states to Katana that he was ready to settle down and die peacefully, but then, Katana sends his cackling henchmen to change all that. Now, he’s immortal again, just where he didn’t want to be. Katana would’ve had his victory of MacLeod dying if he just sat on his ass and did nothing! Even his idiot henchman caught onto this, and Katana just slaps him in the face for having a rational thought.
The theatrical cut even made Russell Mulcahy walk out of the cinema within fifteen minutes. The editing in it was an abomination of continuity. They tried splicing together two different duels for one massive end battle, but it features Connor using two different swords in two different outfits. Subsequent re-edits such as the Renegade Version or Special Edition had more linear coherence, but hardly resolve any of the base issues with the movie. Frankly, as I said, that is impossible.
Flushing away the adventurous fantasy for idiotically conceived science fiction explanations leaves a horrible, bitter taste in any fan’s mouth. Beyond just the irresolvable continuity contradictions, this is a contradiction of all that Highlander was based upon, and later re-established itself as through the television series. Highlander II: The Quickening became so reviled that it was disassociated from all continuity. That’s not a regular occurrence for a franchise when millions of dollars are poured into a feature film, but it seems like it was an experience many would have rather forgotten in part, if not in whole.
While there are admirable technical qualities in the film, there is surely nothing within it that can hope to redeem this epic failure. It’s become legendary and notorious to the point where it’s awfulness has transcended through pop culture as a benchmark for a bad film. Christopher Lambert remains a solid lead for the franchise with an enjoyable performance, but as with so many aspects of the movie, it’s more indulgent in itself than really bringing something memorable to the table. Connery’s presence alone is self-indulgent, and Katana is a generally weak, one-dimensional villain played up more for laughs than as a cunning, intimidating adversary. The producers can continue to update the visual effects and refine the editing, but it’s only making a pile of garbage easier to look at. This is not a film where I say watch it for yourself to make your own determination apart from its reputation. Even on its own merits, it’s not a good movie. In itself, it has unforgivable failings, obvious limitations, and baffling errors in logic, to say the extreme least. It certainly wasn’t the only controversial misstep in Highlander, but it was the first. And for that, it will remain a stigma on the franchise for all time.