“Paycheck” is a slightly below average sci-fi film that borrows heavily from “Total Recall” and “Minority Report.” All three films are based on stories that Philip Dick wrote in the 50s and 60s. “Paycheck” combines the idea of a company erasing one’s memory,with the ability to see into the future.
Ben Affleck stars as Michael Jennings, a brilliant engineer hired by high-tech corporations for top-secret projects. Once a job is finished, the company erases his memory for security reasons.
Jennings decides to take a three-year job that could earn him up to $90 million. But upon completion of the job, the only payment Jennings receives is a bizarre envelope filled with seemingly random objects. Jennings must put the pieces of his life together withthe help of his girlfriend (Uma Thurman) before his time runs out, and his boss (Aaron Eckhart) and the people he once worked for have him killed.
“Paycheck” might ultimately be remembered as yet another step in the decline of the once promising careers of Ben Affleck and John Woo.
John Woo’s transition from Hong Kong to Hollywood, with the exception of “Face Off” and “Mission Impossible II,” has not been successful. Efforts by Woo to integrate his Eastern film making trademarks into more narrative-driven Western movies has been metwith commercial failure and critical mockery culminating in the disastrous “Windtalkers.”
In the last several years, with the exception of “Changing Lanes” and “Boiler Room,” Affleck has made a string of big budget, poorly received films from “Reindeer Games” to “Pearl Harbor,” culminating with last year’s disastrous “Gigli.” Mysteriously Affleckhas not capitalized on his Oscar caliber screenwriting skills, leading us to wonder how much he actually contributed to the writing of “Good Will Hunting.”
What hurts “Paycheck” seems to be the fundamental contradiction of the character of Jennings. The scientist must be extremely intelligent, while also being able to handle himself incredibly well in a fight, a combination that is both unrealistic and verydifficult to pull off.
Affleck does not have the intelligence and introspection of a scientist. An actor such as Jeff Goldblum or Jodie Foster can project a reflective, shy nature that stands in sharp contrast to someone like Affleck who does not appear to ever be thinking aboutanything of much substance or depth.
Thurman at least brings a dynamic physicality to the action sequences. She definitely has street cred after “Kill Bill,” but she is supposed to be a nerdy biologist, not a female kick-boxing champion.
For two scientists, the pursuit in the film should have more resembled a MacGyver episode than a second-rate Stallone film. Unlike “The Rock” where Nicholas Cage was anormal scientist who was able to beat up multiple marines, at least we could see he was struggling. Affleck seems to be invincible as he punishes the opposition.
On more than one occasion, I was aware that I was watching a John Woo film. The action sequences were somewhat distracting from the overall movie. As in nearly every Woo film of the last 20 years, there are Mexican standoffs, fluttering birds, and lots ofslow-motion violence. There are chases that feel excessively long, and dialogue that feels flat.
“Paycheck” begins with a thought-provoking premise, exploits it for its action and plot potential, but never really does anything creative with it. By the end, the filmseems to have lost all enthusiasm and momentum.
Of the futuristic films based on Dick stories, “Paycheck” has more in common with the straight-ahead thriller tone of “Total Recall” than the darker “Minority Report” or the less conventional “Blade Runner.” What it lacks is heart and energy. Overall, it’s an average action/sci-fi film and certainly not a complete waste of time. But compared to itsinfluences, it fails to measure up.

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