Movie Review Paycheck

Paycheck (2003) 

Directed by John Woo 

Written by Dean Georgaris 

Starring Ben Affleck, Aaron Eckhardt, Uma Thurman, Paul Giamatti, Colm Feore, Joe Morton 

Release Date December 25th, 2003 

Published December 24th, 2003 

In the just over 10 years that John Woo has been working in the Hollywood system of filmmaking, we have yet to see the potential that was promised in his earlier Hong Kong work. It's interesting then that he would work on a film based on a story by Philip K. Dick, the legendary science fiction writer whose work has also been difficult to capture in a Hollywood film. An element of both Woo’s best works and Dick’s best writing have been seen in flashes but neither are fully realized. Paycheck goes no further toward capturing the best of either Woo or Dick, and in fact may be a huge step back for both.

Paycheck stars Ben Affleck as Michael Jennings, a reverse engineer who copies a work of technology and changes it just enough to step around copyright laws and delivers a similar product to a different company. For liability purposes, Jennings' works alone, often secluded for months at a time cut off from the outside world. At the end of his work, his memories are wiped clean through a disturbing, dangerous process that literally cooks his brain, burning away the portions of his memory that relate to his work.

Jennings is well paid for his work, often with six-figure paycheck. His next job however is for more money than he could have imagined. Michael's friend Rethrick (Aaron Eckhart) offers him an eight-figure paycheck for a job that will take up to three years of his life. At that price, three years is worth it and Michael takes what should be his last job.

Three years later, Michael wakes up in Rethrick's office with his memory wiped clean. With no memory of the job or anything of the past three years, Michael's only concern is picking up his sizable check. However, when he arrives at the bank he is shocked to find that he has signed away his money, stocks and has only a bag of 19 personal items which he doesn't even think are his. Through a series of odd encounters, each of the 19 personal items comes in real handy in saving Michael's life as he pursues the reason why he refused his paycheck. There is also a minor romance with a biologist named Rachel played by Uma Thurman, which is merely functional and unnecessary to any description of the plot.

Where to begin with the disappointments of this film?

It's big dumb and loud. The film doesn't even have John Woo's usual stylistic virtuosity to fall back on, assuaging style in favor of a more bland action movie mode, save for Woo's trademark doves. There isn't even a scene where Affleck carries Woo's trademark double handguns, one gun in each hand. There is the usual standoff this time with two characters standing in a subway with a train coming. Sadly, it's not as cool as it sounds.

The most egregious problem, as I see it, is the shoving aside of Philip K. Dick's sci-fi story in favor of a generic Hollywood action movie. The story of Paycheck is a man who builds a machine that can see the future. He then forgets the future he saw, and only through a Sherlock Holmes set of clues can he reconstruct his memory to save the future. The implications of seeing the future, of seeing your own future and changing your fate, these are high minded ideas that are hinted at in the film but quickly shoved aside for gunfire and car chases.

Ben Affleck is my boy but Paycheck is a second consecutive misstep after the god-awful Gigli. There is still hope for Ben with Kevin Smith's Jersey Girl coming in March but he needs to begin choosing his material a little better.

Only Spielberg's excellent Minority Report has come close to showing the potential of Philip K. Dick's material on screen. More often than not, Dick's idea-driven stories are like Paycheck. A clothesline from which to hang huge special effects and stunt sequences that may or may not be technical marvels but are definitely less interesting than the ideas that are the core of the stories.

As for John Woo, it's becoming increasingly apparent that it was hype as much as talent that brought him worldwide attention. Woo has turned out a few exciting action pictures since coming to Hollywood but for the most part he has become a cog in the Hollywood money machine, pumping out easy to market, demo-driven, action trash. Special effects films that have posters before they have scripts that he brings a modicum of style but little else. What a shame.