With a huge (for the day) budget of $65 million, the movie features elaborate sets, makeup, costume design, and world building. Mars feels like a fleshed-out, alien world that has been colonized by humans, including various mutations from intense radiation, and the interiors—especially the location of the alien artifact—seem appropriately huge. Practical special effects abound throughout, as well as some relatively new for-the-time CGI, and the film actually won an Academy Award for Visual Effects. 

Originally shot on 35mm film, this transfer is taken from a 4K digital intermediate. Some film grain remains but it’s never distracting. The film certainly didn’t receive the massive grain-reduction smoothening Terminator 2 did. Most scenes—especially those filmed in the bright outdoors—are clear and sharp. Don’t expect the ultra clarity, sharpness, and detail of modern digital images but you’ll definitely appreciate all the detail the source material has to offer.

Especially impressive in its day was the scene of Quaid (Arnold Schwarzenegger) pulling the tracker roughly the size of a golf ball out of his nose. While this would have certainly been a CGI effect today, it was accomplished with the use of an elaborate, incredibly realistic looking puppet, and the effect still holds up, even under 4K’s enhanced resolution, where you can really appreciate the detail that went into creating it. The same goes for the mutant Kuato.

Some scenes, such as on board the subway, look a bit soft. Even within scenes, there can be a bit of inconsistency. When Quaid is in the Rekall offices, the fine check print in McClane’s (Ray Baker) jacket alternates between crisp and defined to soft and unstable. The added resolution also reveals the limitations of the video screens. 

What really pops from the new HDR color grading is the vibrant, deeply saturated reds of Mars. From the opening credits, you get searing, neon reds, giving a glimpse into what’s to come. HDR also gives pop to the bright lights on the subway and the neon lights and signs in Venusville, Mars’ red-light district. Blacks are also deep and clean, providing a solid background for the rest of the images to pop.

Sonically, the new Dolby Atmos mix is fairly reserved by modern standards, with most of the mix taking place in the front of the room. But you do get a lot of width across the front, with action spread far left and right. The mix also does a great job with the dialogue, which is clear and understandable throughout.

The height and surround channels are used extensively to expand the musical score, with the additional speakers being deployed for a far more room-filling experience, especially inside the Last Resort Club on Mars where loud music booms from all around.

The sound mixers took some opportunities to extend sound effects into the room to heighten certain moments. Aboard the “Johnny Cab,” we get some nice creaks and groans happening overhead; during gunfights there are some ricochets into the surround speakers; subway announcements emanate from the height speakers; reverb sounds in the mine shafts; and wind swirling and blowing overhead when there is a atmosphere breach.

While Total Recall shows its age in parts—some of the scenes between Schwarzenegger and Sharon Stone are a bit groany—it remains a fun action ride, driven by near constant action and a good bit of depth to the story. If your only experience with Total Recall is the disappointing 2012 Colin Farrell remake or from watching the film on DVD, this new 4K HDR remaster is a must-watch.