Like "Total Recall", "Blade Runner", "The Fifth Element" and "Back to the Future II" to name a few, "The 6th Day" creates a crowded, busy future which is full of interesting background action. Director Roger Spottiswoode and writers Cormac and Marianne Wibberly have jam-packed the "6th Day" world with fun gadgets (you can pay for a cab via thumbprint) and off-hand remarks (it seems that smoking is illegal) that keep the film interesting and fun.
It's more than a little ironic that a film which deals so closely with cloning would borrow from so many films (not the least of which being Schwarzenegger's own "Total Recall"). But "The Sixth Day" does stand on its own. To fully appreciate it, the film requires attention from the viewer in the way that "The Sixth Sense" or a James Bond movie does. It is certainly no coincidence then that Mr. Spottiswoode helmed "Tomorrow Never Dies".
The plot revolves around Adam Gibson (Mr. Schwarzenegger), who comes home on his birthday to see...himself celebrating with his family. The rest of the film unfolds quickly but very intelligently, with plenty of those futuristic touches thrown in for good measure. Perhaps the only over-used gadget is the futuristic gun which seems to be a souped-up version of the one used in "Logan's Run".
There is even a fine, quiet performance from (imagine that) Robert Duvall, as a genetic scientist and the emotional center of the film. Tony Goldwyn is an adequate villain, Michael Rooker does his usual thing as Mr. Goldwyn's lackey, and Michael Rapaport gives his least annoying performance to date at Mr. Schwarzenegger's friend Hank.
Visibly older now, Arnold has chosen as close to a cerebral thriller as he has ever done. Yes, the film follows a formula, but "The 6th Day" is a good sci-fi film the way "The Matrix" is a good sci-fi film. Of course, "The 6th Day" doesn't have the flash or boundary-pushing style of "The Matrix", and yes, there are some minor plot holes. But the film is otherwise very thoroughly thought out and very smart about its pacing and plot twists. Most of which, aside from a pat jump-on-the-helicopter ending, work surprisingly well. This film is instantly vintage Arnold Schwarzenegger - and in this case that's a good thing.
