Len Wiseman's $125 million Total Recall (US/Canada 2012) did not fare well with mainstream film critics. It was described as an "unnecessary remake,"¹ "a near-total redundancy,"² 'sanitized [and] soulless,"³ "an unsubtle shoot-"em-up… set in a world that makes no sense,"⁴ "a long succession of repetitive chase scenes, hollow explosions and… speech balloon dialogue"⁵ and "the most ridiculous sci-fi film since Timecop".⁶ Not one of the dozens of reviews I have read even notices the film's politics: its setting emphasizes an impoverished migrant labor force and oppressive border controls; its plot hinges on a superpower faking a reason to wage asymmetrical imperialist war; and it concludes with the fall of a mighty tower that to the colonized signified imperial arrogance and force. However, it is not my intention to try to recuperate Total Recall as a misunderstood, countercultural classic; Wiseman's film is no such thing. Rather, I will use it to help sketch out some currents in contemporary adaptation studies before moving on to think about Dickian films not based on Philip K. Dick sources.