GRADE: B-

Despite a slew of poor notices, this latest Bruce Willis vehicle is actually a reasonable time-passer that raises several topical issues with a few new twists before descending into routine action territory.

Based on a graphic novel—Hollywood’s favorite choice for source material these days—“Surrogates” is a highly derivative science-fiction entry that borrows liberally from ideas first floated by author Isaac Asimov in “I, Robot,” as well as from many other sci-fi films and stories, notably “The Stepford Wives,” “Logan’s Run,” “Ghost in the Shell” and “Blade Runner.”

That borrowed pedigree gives “Surrogates” the unmistakable feel of a “been there, done that” affair—so many of its concepts and settings are reminiscent of those most audiences have seen before. But that doesn’t make this genre piece about the human race living out its lives through lifelike, surrogate avatars from being any less interesting or emotionally compelling.

Once again, technology is the real underlying issue, as the human race has become practically lifeless, most adults cloistered in their homes strapped to hi-tech recliners through which their thoughts control the words and actions of their avatars, which rarely even resembles the person who operates it.

When a surrogate is killed, resulting in the unexplained death of its operator—something that’s never happened before when one has been damaged or destroyed—the authorities go on high alert in an effort to figure out what happened and who is responsible. The prime suspect is someone called “The Prophet,” a charismatic, Rastafarian-like preacher who rails against the unholy and inhuman use of surrogate technology.

Enter FBI agents Greer (Willis) and Peters (Radha Mitchell), who are brought in to investigate what has now been ruled a homicide. After a few blind alleys, it isn’t long before the pair begins to suspect the corporation that builds the surrogates might be behind the murder. Or are they?

After that plot point is established, “Surrogates” breaks down into a lot of standard action sequences, utilizing the kind of computer-generated imagery and special-effects that have become commonplace in movies. An attempt to balance the high-octane action is made with a pair of subplots involving the original designer of the surrogate technology, whose son was the murder victim, and the marital divide between Greer and his wife stemming from the death of their only child.

That latter twist is a melodramatic one, but in an age of screen names and anonymous communications it serves as a useful launching pad for the central theme in “Surrogates,” an aspect of the narrative that gives a slight boost to the mandatory action while also supplying the film with a distinctly thoughtful conclusion.

Those who’ve enjoyed director Jonathan Mostow’s other work, including his underwater box-office hit U-571” and surprisingly lively “Terminator 3: Rise of the Machines,” will appreciate how he keeps things moving along. And there’s just enough relevance to the script to resonate with viewers who understand the dangers of depending on technology to act on their behalf, as so many of us do these days. Others will likely be bored by it all.

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