Directed by Leigh Whannell
Starring – Logan Marshall-Green, Richard Anastassios, Rosco Campbell
The Plot – After his wife is killed during a brutal mugging that also leaves him paralyzed, Grey Trace (Marshall-Green) is approached by a billionaire inventor with an experimental cure that will “upgrade” his body. The cure; an Artificial Intelligence implant called STEM that gives Grey physical abilities beyond anything experienced and the ability to relentlessly claim vengeance against those who murdered his wife and left him for dead.
Rated R for strong violence, grisly imagery, and adult language
– Falling in love with the overall presentation is easy to do. This film never specifies what year this is, but establishes with it a believable presence not only in its humble technology, but also in the vantage points of city skyline shots that relates this world being not too far from our own. Because of this, ‘Upgrade’ combines the best of both in fantasy and reality that hammer home the imagination time and time again.
– This is Whannell’s first directing effort since 2015’s less-than-stellar sequel ‘Insidious: Chapter 3’, and it’s clear that Leigh has come a long way in finding a signature visual presence that he can mold. The camera work here breathes the kind of creativity necessary to put you in the presence of the protagonist without ridiculing us in a POV circumstance, jerking its way back and forth through the twists and turns of Grey’s interactions, and the attention to detail in story challenges our attention on more than one occasion, to make sure we’re constantly paying attention.
– Jed Palmer’s masterful musical score that establishes a nightmare inside of a daydream. Considering the variety that Palmer establishes with heart-pounding exuberance, I pondered quite often a multitude of composers for the project, but Jed’s emphasis on tone and environmental shifts prove that if you want to do something right, you have to do it on your own. This might be my favorite score so far, in 2018.
– Of the many influences that Whannell pulls from for inspiration, ‘Iron Man’, ‘Blade Runner’, ‘The Terminator’, and especially ‘Robocop’ feel the most prevalent. But homage, not imitation, is the key here. In crafting a film the tributes those classics of yesterday, Leigh puts together a modern day science narrative capable of walking in its own shoes, while conjuring up the poignancy of man’s dependability in technology.
– There’s great restrain from the writer of the original ‘Saw’ movie in where he inserts his violent touch. Because this is a Sci-Fi film first and a horror movie second, the gore is spread out carefully, making its mark when the film needs that impact the most. On top of this, the effects work in makeup and detail to these bloody battles are nothing short of jaw-dropping. Truly gritty stuff for the gorehound in all of us.
– Something that fascinated me about this film is that the single best flow in chemistry was between Grey and STEM, his artificial intelligence working from within. Besides the fact that this depicts just how easy man’s obsession with technology can flourish, it’s also a shining example of Grey’s fading interaction with human beings who are trying to help him. Super smart.
– On the field of performances, Marshall-Green (Visually a poor man’s Tom Hardy) gives us two for the price of one. Aside from his dramatic pull which unravels with subtlety the longer the film goes on, Logan also immerses himself in the sheer physicality that the role demands. All of his movements feel precise with awkward pull, considering he is being controlled by something entirely opposite of what he is, and there’s no shortage of bending that these intense fight sequences require of his body. Harrison Gilbertson’s corporation head Eron is also a shining presence, feeling so foreign because of his time and dedication spent with so much advanced technology.
– Further meaning within the lighting scheme. Even though it’s fairly obvious what these sequences of half blue-half red face coloring are conjuring up, it’s in their illumination of the surrounding set pieces that serves greater value within the beauty hidden in such a grungey and reactive situation that replicates our own real world.
– Despite the fact that the screenplay hits more than misses, there are some truly atrocious lines of dialogue that completely take me out of certain scenes. One such line has Grey taking out a gang leader by putting his foot on top of the man’s beaten body and saying “Didn’t anyone tell you? I’m a ninja”. UGHHHHH!!!! My problem isn’t so much inserting humor in tension-filled situations, but rather just how forced that said humor feels when compared to the rest of Grey’s personality and actions.
– Tug-of-War ending. There are two bombshell deliveries associated with the ending. The first one is obvious because of how little the movements of the main cast are blessed with. The second pleased me initially because it was a swerve from what I previously mentioned, but soon soiled when you start to think how little it makes sense. It’s hard to say this without spoiling it, but there’s no real reason why Grey was even necessary in this particular plan. Besides this, it makes even less sense when you consider how many times this true antagonist put themselves at risk just so the plan would come to fruition.