ulie Redlund (Rene Russo) appears more excited for her boyfriend Alex Furlong’s (Emilio Estevez) upcoming race than he does; as she selects her outfit for the event, wondering what the other women will be wearing, he’s nonchalant, confident in his racing abilities for the F1 competition. He has nothing to worry about; he isn’t even concerned about impressing potential sponsors, much to the chagrin of his promoter, Brad Carter (David Johansen), who desperately wishes to impress motor oil or tire companies with plenty of cash. As it turns out, however, the daredevilry of the racetrack is irrelevant – even when he collides with another car, resulting in a fireball explosion from which no one could survive.

Headed by Victor Vacendak (Mick Jagger), Alex is suddenly transported into a war-torn, futuristic dystopia like something from “The Terminator.” The technology is unexplainably advanced; it’ll take poor Alex some time to realize where he is … or when. “He’s a freejack!” In the blink of an eye, the Grand Prix driver from 1991 is teleported into 2009, which borrows elements from “Blade Runner,” “Robocop,” and “Escape from New York” for its styling. Either way, it’s a shocking nightmare for the unprepared Alex, who is forced to navigate a dismal future in which the ultra rich can store their minds in a supercomputer called the Spiritual Switchboard, awaiting new bodies to be downloaded into – though this process obliterates the mind of the unwilling, unwitting surrogate. “I don’t want an alternative body. I want this one.”

It’s a bit much to believe that in less than 20 years, not only would the United States devolve into such a drastic divide between the extremely poor and the extremely wealthy, leading to general anarchy in the streets and the dissolution of basic civil services, but also advance so rapidly in technological wonders. Apparently, a hint of a nuclear holocaust (and a ten-year depression) is all it takes to create massive decay for the have-nots, while the upper class hides behind plenty of security in their pristine glass skyscrapers – and navigate space/time coordinates for the retrieval of bodies from the past to achieve immortality. Clearly, a lot has happened to society in a brief span (though the “wanted” ad for Alex at a mere $10 million hasn’t appreciated all that much). “Things have changed.”

With a silly but amusing sci-fi setup, “Freejack” is quick to get into action-packed shootouts with laser weapons and frenetic chase sequences (aided nicely by an eclectic score by Trevor Jones, which vacillates between bluesy numbers and rockin’ ones). It certainly helps that Alex had a profession that could be put to good use when he goes on the run. Ultimately, the film isn’t too interested in the specifics of its visionary components; its focus is on adventure – particularly if death and destruction are worked into the mayhem. And, admittedly, many of the car stunts are rather impressive, utilizing armored trucks and other slick designs for its “Death Race 2000” or “Mad Max” types of explosive vehicular maneuvers.

Additionally, futuristic sets and structures and costumes supplement the excitement, along with a smattering of recognizable stars in supporting roles – including Anthony Hopkins, Jonathan Banks, and Esai Morales. With a script by Ronald Shusett (“Alien,” “Total Recall”), based on the novel “Immortality Inc.” by Robert Sheckley, this man-against-the-system picture borrows a little here and there from a lot – from its plot to its imagery. Yet it’s also ahead of other films that followed it, which arguably take a piece or two from it as well. Despite the many ideas that do work, including an unexpectedly sensible exchange between Alex and Julie, whose lives have diverged quite differently in each of their very disparate perspectives of passed time, “Freejack’s” inability to truly set itself apart from its brethren prevents it from excelling as a genre movie (B-grade or less, as it may be). It also doesn’t help that Jagger doesn’t come across as a believable or convincing baddie; he’s just too plain in his efforts to behave sternly and mercilessly or even sportingly. And the runtime is a touch overlong, while the finale revels in outdated graphics. Still, it’s not without its moments, including a remarkably satisfying conclusion.

– Mike Massie