The implant is no Audemars Piguet, but hey, it still elevates the wearer! What a toothsome phrase, âwhat if.â Powerful, too, especially in the sci-fi genre, as any mishandling or undertreating will set a future-set film on a surefire path to let its viewers down. In writer Leigh Whannellâs second time as director after the adequate third (but first) Insidious, the âwhat ifâ prefaces the scenario âitâs the tech that makes the man,â and at 95 minutes, which isnât that hefty for a dissertation of the cinematic variant, Upgrade will never irk those experiencing it. Maybe theyâll even cheer a couple of times. That said, the film does ask its viewers to do three difficult things: to forcibly adopt a gorehound within, to never stop for a breather and to adore formula. The year is 2040, yet being a Luddite is more the lifestyle that at-home car restorer Grey Trace (Logan Marshall-Green) prefers. One night, Grey and his wife Asha (Melanie Vallejo) are mugged by thugs whom he believes to have hacked and flipped their autopiloting sedan. They afterward fatally shoot Asha with a hand gun [not a typo, swear!] and incapacitate Grey. Upon hearing the news â Asha is a respectable figure at her firm â Eron (Harrison Gilbertson), an uber-moneyed tech prodigy/what-happens-when-Bieber-is-spliced-with-Walter, offers to help Grey, literally, get back on his feet by attaching a SD card-sized A.I. onto his spine. Kimoyo Beads what? And here is where âthe tech makes the manâ aspect kicks in: Stem, as the A.I. is called (voiced by Simon Maiden), rapidly turns Grey from hopeless widower to badass avenger. Itâs a powerful kind of transformation that calls for an equally so moment, something that one wishes had happened. Upgrade, under Andy Cannyâs editing, has no time for fluff, but the flip-side of such briskness is a reveal of the storytellerâs (who is also Whannell) impatience, as well as his favoring of what (sometimes literally) bloody coolness Stem will perform next over everything else. One of them involves loosening a jaw (and it has everybodyâs toes curled up nicely). The futuristic setting, world-building work (we know of two competing tech giants through a single mention â possible sequel?) and other characters â along with those mentioned thereâs also Det. Cortez (Betty Gabriel) whoâs assigned to get out (winks) and solve Ashaâs murder â are hazy creations (and thus becoming textbook plot push-alongs), as a result. But Upgrade arrives prepared with all sorts of backups to recover from any bout of disinterest stemming from the hastiness. Thereâs the refreshingly vivid color scheme, humor that is effective in dark, silly or dark-and-silly hues (âI can do it for you, you donât even have to look,â Stem said to Grey before operating on a thugâs face) and, especially, Stefan Duscioâs lensing. The camera also has an act of its own here: Should Grey be tired it will perpetually and funkily try to âresetâ itself upright (thanks post-process stabilization), and in times of hand-to-hand combat it will pivot and twirl like JTâs microphone during Suit & Tie at SB LII. Quite the next-best solution when the writing canât connect viewers to the characters. Itâs also a neat approach that honors the highlighted part in the tagline, too (âMore.â). However, the true highlight here is one of flesh-and-blood: Marshall-Green. The Devil and The Invitation star displays Greyâs uneasy alliance with Stem with such aplomb that we will support the character wherever he goes â wacky town or solemn place, around telegraphed roads toward an expected destination. To still enchant us on an overly well-worn journey (though notably with a more heightened sense for bad guysâ blood) takes skills, so letâs drop that âpoor manâs Tom Hardyâ line for good, shall we? Even better, after doing that think about the âwhat ifâ case of making Logan Marshall-Green a thing. He absolutely deserves it, and to sing a different tune means itâs time to refresh your playlist.
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