Paycheck

Philip K Dick wrote many stories which seemed to have great film potential. I never thought of this as one of them.

I have seen Ben Affleck in a number of films, and felt that he was good in a few, OK in most, and positively annoying in some.

I saw the horrible, misleading trailers.

The soundtrack was simply bad.

So, needless to say, I went into Paycheck with very low expectations.... and I was pleasantly surprised.

Affleck plays a talented reverse-engineer, who sees the possibilities in new technology, and is able to carry it through to fruition. He takes on top-secret jobs and has his memory erased upon the completion of each. He decides to take on a project big and profitable enough to allow him to retire comfortably for the rest of his life. He completes the project, goes through the memory erasure, and then starts to discover what he has done, and, pursued by corporate hit men and the police, tries to recover his memory. Uma Thurmond, a biologist he had fallen in love with, is one of the memories he wants to recover, and also a target.

Paycheck is more of an action film than a sci fi flick. The plot serves the action, as do the somewhat one-dimensional characters. And there is so little chemistry between Affleck and Thurmond that the romantic subplot is almost just a distraction. Despite these flaws, I spent an evening being thoroughly entertained by this rehashing of the usual technology-run-amok / knowledge-is-power story. This film is very Hollywood, and uses a lot of slick and clichéd camera-work, but nevertheless tells a good story and does it well enough.

Though futuristic in look and tone, John Woo's `Paycheck' is really a throwback to that oldie about the man who wakes up one day as an amnesiac only to find himself being pursued by the authorities for a crime he may or may not have committed (just about every other Hitchcock film seemed to be built on this premise to one extent or another). The difference is that Michael Jennings is an amnesiac by choice, a brilliant engineer and scientist whose job it is to develop top-secret inventions for hi tech corporations. Once he's delivered the goods, he allows his memory to be erased – thereby rendering him innocuous as a security threat - in exchange for the lucrative paychecks the companies offer him.

Yet another of the many recent adaptations of a Phillip Dick story, `Paycheck' begins in the present day, a strange choice on the part of the filmmakers actually, for in this film's view of 2004, the technology for memory erasure seems to be in full swing and widely accepted (perhaps the producers didn't want to have to deal with the expense or bother of creating futuristic designs for their sets and costumes). The majority of the story, however, takes place in 2007, after Jennings `wakes up' from a three-year stint working on a secret project about which he can remember nothing. The trouble is that things haven't quite worked out the way Jennings planned as he finds himself the quarry of both the FBI and the organization for which he was working. Of course, Jennings doesn't know why. As is customary with films of this type, we uncover the clues and piece together the picture right along with the increasingly more enlightened main character.

It's that piecing together that is the sole factor of interest in `Paycheck,' for Dick is clearly a writer with a fertile imagination and a gift for mind-bending storytelling. When the film sticks to unraveling its plot complications, it is generally sharp, intriguing and thought-provoking. Too often, though, the film degenerates into a collection of man-on-the-run, action movie clichés. Although the special effects are occasionally impressive, the far-too-frequent chase sequences defy all logic and believability. In fact, a number of scenes actually elicit a few unwanted giggles, so ludicrous and over-the-top are the setup and execution. Director Woo, past master of action spectaculars, is clearly working on autopilot in this film.

There isn't much to say about the acting, either. Although Ben Affleck and Uma Thurman - as the woman Jennings fell in love with during the three years, but whom he can no longer remember - do their best with the characters assigned to them, neither is given much chance to expand beyond the stereotypical confines of their respective roles.

When it comes to all those involved in this film, I suspect that Jennings isn't the only one here working solely for the paycheck.

Michael Jennings is a reverse engineer who, in exchange for big money, takes items apart in order to rebuild them for other companies. After every job his memory is wiped back to the moment he started the job. When he is offered a massive payday to do a three-year job for friend James Rethrick he accepts. Next thing he knows it is three years later and the job done. He goes to collect his money but finds that he has waived his right to it and replaced it with a package full of strange objects. When he is set up with the FBI he goes on the run and realises that the objects are all clues or aids in his mission - a mission that he himself has arranged.

There's nothing quite like a good action movie that allows you to accept whatever the plot is as it presents good solid action. This film almost manages it and it is ironic that the concept from Dick is what weakens it. The plot is a bit of a stretch but once you accept it you can move on - like Face/Off, once you get the idea and accept it you can enjoy the action. However with Paycheck you are only left alone for 10 minutes before you have to accept the stretched plot all over again. Every time an item perfectly fits a situation you have to accept the whole concept over again. The problem is that the items are far too specific. With the lottery number strip it works, however with the paperclip and the bullet it is too much of a stretch and took the enjoyment off the action a bit.

Happily it is only a bit. The plot as an idea works pretty well but has been done better elsewhere (Bourne Identity and Total Recall for example) it is presented too full of holes that appear with the slightest picking. It would have been much better if the items had been bigger in terms of meaning rather than very specific (e.g. the lighter and hairspray), bigger clues and so on would have been better. However the action is still pretty good, not quite classic Woo but full or good touches. The film has a good steady pace to it and it keeps it up for the majority - very quickly getting through the set up and jumping to three years hence. The action is enjoyably slick and makes good use of effects; true, some of the set ups in the scenes is stretched, and some of the stuff about the weapons is just dumb (a fired bullet with it's casing, a bullet being fired by a thick piece of metal etc), however if you can accept the plot then I imagine accepting that Woo often takes style over substance shouldn't be a problem.

The cast is so-so despite having a surprising amount of famous faces. Affleck is better than usual; because he is quite ordinary he plays an everyman pretty well and it is easy to see him as a `normal' guy. Eckhart is reasonably good but he has limited screen time. It's good to see him in big films like this as he is an interesting guy, but I hope he doesn't just turn off his skills. Giamatti is in the film briefly and is OK comic relief but Thurman has been miscast. She does most of the film pretty well but her early scenes as an expert biologist are laughable she is so inept! The support cast features a really good turn from Feore as well as good roles from Morton and the wonderful Hall - although the roles are practically cameos.

Overall this is an enjoyable little action movie but it is ironic that the story is both interesting and the film's weak point. The items are too specific and, each time Jennings uses one, it forces the audience to accept the unlikely premise all over again. Worth seeing for enjoyable action delivered by a director who recovers some of his form here.

Philip K. Dick would be furious if he saw this latest adaptation of one of his stories. Things that shouldn't be explained are (e.g. the future machine sees into the future with a really powerful lens that can see around the curvature of the universe... THEN HOW DOES IT SEE INTO BUILDINGS?). Things that need explanations (like why people don't pull the trigger when they have a gun pointed at their enemy) don't get explained, probably because there is no rational explanation.

Every cliche in the book is on display here. The jocular banter between people is as bad as any 70's cop show. The action sequences are tired and overblown. In one ridiculous scene, just before the protagonist is set to die, a dove flies in through the door leaving the audience to wonder WHAT IN BLUE BLAZES?!?!?!

Hardly any of the main characters come off well. Uma Thurman looks about 50 years old for some reason. Ben Affleck can't act as usual. The scientist from Terminator 2 is in this playing some kind of bad-guy good-guy or something. I didn't bother thinking too hard about it.

The sad part is, I could see the brilliance of Philip K. Dicks story poking through the garbage once in a while. The premise is ingenious, but unfortunately every time it peeps its head out, John Woo takes a massive dump on it.

Don't let the naysayers keep you from giving Paycheck a look. I found it to be intelligent, inventive, action-packed fun. Ben Affleck does a very credible job playing a man that finds the secrets of new technology out for big paychecks and then has his memory erased. He is offered a huge amount to do just that but lose three years of his life in terms of what he remembers. Well, the film picks up quickly after the three years and Ben Affleck has been played foul by his employer or someone. The science fiction aspect is very involved but presented in a pretty comprehensible style. The film chronicles Affleck's collection of simple, every day items that have been sent to him by - himself - and each has a purpose he must soon discover. Director John Woo mixes lots of gritty, sometimes over-blown action sequences here and there(especially at the end), but they only enhanced the suspenseful nature of the film. The film works primarily because of its thoughtful, engaging script and the adequate acting of Affleck, Aaron Echhart, Colm Feore, sultry Uma Thurman, and always humorous Paul Giamatti. The profound(albeit somewhat lost in the action)lesson in the film's end resonated strongly for me and had me thinking about my future and OUR future here on planet Earth. If a film can do that, it can't be all that bad in my book. The film is based on the science fiction writing of Philip Dick, a great mind and perhaps a soothsayer to what lies ahead for all of us. A great theme for this film might be little things mean a lot OR thanks for the memories!