Within the internal logic of Max Landis’ keen script (conceived in partnership with director Trank), Andrew’s arc makes sense, but limits the scope of the story and comes at the expense of the other characters.
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Rather than using their powers for good, the way a long tradition of Marvel and DC superheroes before them have, the three leads instead find themselves turning on one another as Andrew’s inferiority complex pushes him to exact “Carrie”-style revenge on the bullies who made his life miserable in the past. After testing the limits of his power, Andrew is gradually corrupted by them, more than slightly resembling a petulant Anakin Skywalker being drawn to the Dark Side. Hyde, the Invisible Man and so many others.
#CGFACTORY UPDATE#
As a tale of powerful yet uncontrollable transformation, the film provides a modern update on the monster-movie formula seen in the tales of Dr.
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But unlike found-footage features like “The Blair Witch Project” and “Rec,” which have primarily used the technique as a tease while withholding any evidence of the supernatural, “Chronicle” makes no attempt to maintain the credibility of its format, using frequent jump cuts to skip over inconvenient stretches of story.Īs a new storytelling tool, this approach serves as the cinematic equivalent of an epistolary novel in which the story unfolds through diary entries, newspaper clippings and other “real-world” documents, as opposed to being told through the less reliable voice of an omniscient narrator. The film commits to the idea that every shot must be sourced by a diegetic camera, one that can be explained within the world of the film, whether it belongs to Andrew, pretty video blogger Casey (Ashley Hinshaw) or, when things start to get really crazy, surveillance cameras from the surrounding area. Practicing on his own, Andrew develops some fancy new camera moves, with the immediate benefit of keeping handheld shaking to a minimum. Before long, they’re playing football at 30,000 feet and trying to steal the school talent show with impossible magic tricks. While not entirely convincing, the visual effects are good enough to suggest plausible ways teenagers might manipulate the world around them, as when Andrew remote-controls a leaf blower to embarrass a group of skirt-wearing female classmates. The mock-doc format lends itself especially well to the film’s second act, in which the trio flex their new mental muscles, documenting the process the way real kids make skateboard videos. As they soon find out, being able to levitate Legos with your mind doesn’t necessarily mean you can survive being struck by lightning. Any sane person would go the other way, but these three show scant awareness of their own mortality - a theme that recurs after they emerge with newfound telekinetic powers. Jordan) drag him along to check out a mysterious hole in the nearby forest floor. Andrew is sulking outside an after-school rave when Matt and cool kid Steve Montgomery (Michael B. Instead, some sort of cosmic power intervenes. Had his frustration continued to develop in this direction, one can imagine things eventually veering into school-shooting territory. Teary-eyed but undeterred, Andrew keeps filming. But the addition of a camera seems only to amplify his outsider status, which “Chronicle” conveys in the way Andrew’s peers react to being recorded without their permission. The closest thing he has to a friend is his cousin Matt (Australian charmer Alex Russell), an amateur philosopher who does his best to coax Andrew out of his shell by driving him to school and inviting him to parties.Īt first, Andrew’s only recourse is to document the injustices he suffers on a daily basis. Between his abusive father and the bullies at school, Andrew feels beaten down from every side. At home, the awkward teen’s mother (Bo Petersen) is dying.
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Andrew Detmer ( Dane DeHaan) has every reason to resent the world.