Category Archives: Sci-Fi

As a general rule, I’m getting pretty tired of the whole handheld-camera style of filmmaking. Too often, it results in convoluted, choppy editing that makes a movie difficult to follow. I, like many other viewers, enjoy being able to see what’s going on. There are exceptions to every rule, however – and “Chronicle” is one of them. More than that, though, “Chronicle” is one of the most intelligent movies I’ve seen in a long time.

“Chronicle” is a superhero movie of sorts – but not like any superhero movie I’ve ever seen. The film revolves around three high school friends – angst-ridden Andrew, nerdy Matt, and class superstar Steve – who discover a mysterious glowing object. This object grants them the power of telekinesis – the ability to move objects with their minds, and eventually, to fly. At first, their powers are merely a gimmick, used for pranks…but soon, things take a darker turn. Struggling to cope with a dying mother and an abusive, alcoholic father, Andrew finds solace – and popularity – in his newfound powers. Naturally, he uses his power to take revenge on the school bullies – starting a cycle of violence which quickly escalates.

The story is simple, but the execution is masterful. Heavily influenced by Stephen King, it blends straight-up action with psychological drama and hints of horror. It’s intense without being melodramatic or gruesome, and intelligent without being inaccessible.

To begin with, the cinematography is surprisingly good. Every single shot of the movie comes from an in-film camera of some sort: a handheld-camera shot might abruptly cut to a CCTV image in a gas station, which in turn could shift to a news camera aboard a helicopter. This constantly changing point of view is, surprisingly, one of the film’s best elements. It frees the camera from the constraints of most found-footage films, offering viewers a clearer glimpse of the action.

The acting is also particularly strong. Though none of the leads possess an extensive Hollywood pedigree, they’re all remarkably effective in their roles. It’s refreshing to see a film involving teenagers that doesn’t pack its cast with the heartthrobs-du-jour.

“Chronicle” also possesses one of the most thought-provoking subtexts I’ve seen in any superhero film. Many comic-book inspired films, like “Spider-Man” and “Superman,” still feel like distant fantasies: flamboyant costumes, gorgeous scenery, and predictable plots all contribute to an aura of unreality. Conversely, “Chronicle” possesses a stark realism, which inevitably gives rise to the question “what would you do if it happened to you?” The film’s characters offer three answers: Steve treats his powers as a game – little more than a party trick. Andrew uses his powers as a weapon to punish his tormentors. And Matt explores the philosophical and ethical implications of their abilities.

This gives rise to one of the film’s most fascinating elements: its stark indictment of naturalistic ethics. In a chilling monologue, Andrew explains that according to evolutionary theory, he is an “apex predator” and thus not bound by petty morality. “Do you feel guilty when you squash a fly?” he wonders aloud to the camera. The film’s suggestion is clear: under a purely humanistic worldview system, ethics cannot rationally exist. Whereas a film like “X-Men” simply celebrates evolution as a means of creating mutant superheroes, “Chronicle” explores the implications for morality.

“Chronicle” also contains a well-executed critique of human arrogance. When Andrew wonders aloud “Hubris? What’s that?” it’s not hard to see where the plot is headed. A particularly memorable tableau at the film’s climax further drives this point home: when man tries to become God, there are inevitable consequences.

Intellectual considerations aside, this is a very exciting movie. Though it starts off slow, it quickly ratchets up to a breathtaking, explosive finale. Given the extremely limited budget (a la “Paranormal Activity”), I was pleasantly surprised by its pulse-pounding climax.

This succeeds, in large part, because “Chronicle” is a character-driven movie. Many – if not most – superhero films are plot-driven (e.g., Green Lantern will face his gigantic monster enemy as it attacks Earth, because that is how superhero films function). The climax in these movies is therefore somewhat predictable: the hero will vanquish his enemy and rescue the fair lady, because that is how superhero films function. In a character-driven movie, the audience has no such security: anything can (and often does) happen. Witness, for instance, “The Dark Knight” – a film driven by the struggle between Batman and the Joker. Plot concerns remain important, but the plot is driven by the characters’ personalities rather than by writers’ preferences. Here, “Chronicle” succeeds brilliantly.

From an objectionable-content standpoint, “Chronicle” falls well within its PG-13 rating. Violence is fairly muted until the climax, but even then it’s more suspenseful than grisly (two particular instances notwithstanding). There are a handful of sexual references and a fair amount of profanity, but little more than you’d see in any other superhero flick. It’s not a film for the whole family, but neither does it push the boundaries of content.

So, should you see this movie?

If you enjoy superhero films or psychological thrillers, absolutely. “Chronicle” is smart, well-acted, and extremely exciting. It’s an excellent example of how handheld-camera movies should be made – I’m looking forward to seeing more of this director’s work. Highly recommended.

VERDICT: 9/10
A thrilling, thought-provoking movie well deserving of its hype.

Normalized Score: 7.9

This movie is not great art, nor does it pretend to be. Instead, “Underworld Awakening” is the anti-“Twilight” – an intense, chaotic action film that unfolds at a breakneck pace.

(Disclaimer: a fair number of the people reading this review will have no interest in this movie. This isn’t an argument for the ethics of viewing violent movies, it’s a stylistic analysis of the film as it stands.)

The “Underworld” series postulates the existence of vampires and werewolves as parallel societies, living just beyond the perception of humans. An intricate mythology involving romance and betrayal sets the stage for “Awakening.” As the film opens, beautiful vampire assassin Selene (Kate Beckinsale) awakens from cryo-sleep after a twelve-year slumber. She finds herself in an unfamiliar world: humans have become aware of the existence of vampires and werewolves. This, in turn, has led to genocide. As she fights to survive, Selene quickly becomes entangled in a sinister conspiracy that pits her against age-old enemies. Thus begins a pedal-to-the-medal barrage of blades, bombs, and blood.

“Underworld Awakening” is not a high-class, introspective movie like “The Tree of Life.” It’s a high-octane shot of adrenaline straight to the aorta. And I must admit, it’s been a long time since I’ve seen a movie this exciting. The tedious backstory of other “Underworld” installments is jettisoned, resulting in a streamlined, pared-down adventure. Notably, the art design is head-and-shoulders above other entries in the series. Steady camera work renders action sequences intelligible, and 3D is employed to marvelous effect. Dialogue is still comic-book bad, but to be fair, there’s not much of it.

The film carries an R rating for “strong violence and gore, and some language” – a rating it certainly earns, although strong language is pleasantly infrequent. Objectionable content is found in the form of constant combat – rather like a bloodier version of “The Matrix.”

I generally hate writing reviews of movies that lack moral nuance. So, I figure I’ll use this as a chance to discuss the current vampire/werewolf craze that’s influencing pop culture. Forgive my digression.

I think that all fiction, in a nutshell, is about vicarious experience. We read adventure stories and envision ourselves fighting alongside the protagonist. We read dramas and envision how we would respond to challenging circumstances. We read mysteries and envision ourselves hunting down criminals. The vampire/werewolf plot element, however, is reflective of something even deeper.

The most influential works of art do not merely evoke vicarious experience: they evoke a sense of vicarious identity. A potent, culture-influencing film like “Inception” probes the human consciousness at its deepest level. Similarly, the movie “Avatar” taps into our deep-rooted longing for a better world. And the “Twilight” craze – and the vampire/werewolf fascination – are reflective of our darkest human impulses.

The vampire of modern pop culture is no withered, hideous Dracula figure. The New Vampire is beautiful, sophisticated, virtually indestructible, and consumed by desire. (Many of the New Vampires are also brilliant strategists, willing to use any tools at their disposal to achieve their goals.) Likewise, the New Werewolf is no figure to be pitied. Rather, the New Werewolf is muscular, super-powered, dangerous, and utterly untamable.

The appeal of these themes, when viewed from a Christian standpoint, is clear: both offer the opportunity to vicariously embrace the dark side. The life of faith is a life of constant struggle against desire – the “beast within.” Yet the New Vampires and New Werewolves have chosen to embrace darkness, rendering vice “cool” and fundamentally appealing. (The “Twilight” books, written by Mormon author Stephenie Meyer, try to play it both ways – they glamorize both restraint and indulgence.) These new “monsters” are hardly deserving of the term – they give in to their predatory impulses while appearing oh-so-charming. That’s a seductive image, but one divorced from any conception of ultimate morality. Ergo, the introduction of immortality as a plot element – if there’s no death, and thus no final judgment, there’s no reason to avoid indulgence.

Why are vampires and werewolves so popular? Simply put, such literature offers a stylish vision of sin without consequences. That’s not to imply that all writers and filmmakers of the genre have insidious motives; rather, that the answer to the question “why are these characters so popular?” is rooted in the human condition.

What does all this have to do with “Underworld Awakening?” Not much – there’s not a whole lot of philosophizing going on between all the action scenes. “Underworld Awakening” is about guns and explosions, not the sin nature of man.

And that, in turn, will determine whether or not this movie is for you. If you’re in the mood for violent, hyperkinetic action to keep you on the edge of your seat, “Underworld Awakening” is a good bet. It’s not for the squeamish, though.

VERDICT: 7/10
An unabashedly stupid, but highly entertaining, throwaway action film.

Normalized Score: 3.4

WARNING: “Underworld Awakening” is rated R for bloody violence and some profanity. This film is not recommended or appropriate for viewers under 18.