Showing posts with label Betty Gabriel. Show all posts
Showing posts with label Betty Gabriel. Show all posts

Wednesday, June 6, 2018

'Upgrade' Review

In the near future, Upgrade zeroes in on Grey Trace, a mechanic who restores vehicles for wealthy entrepreneurs and is adverse to technology. When a brutal mugging turns his life upside down and leaves Trace paralyzed, a billionaire offers a cure in the form of an experimental computer chip. Thanks to an Artificial Intelligence implant called Stem, the chip grants Grey unexpected enhanced abilities and an opportunity to embark on a path of ruthless vengeance. 
Upgrade is the second film to be both written and directed by Leigh Whannell (he has eighteen writing credits total and this is his second directorial effort). Since I was unfamiliar with most of Whannell's work, I wasn't quite sure what to expect going into Upgrade. Prior to watching the film, I'd only seen one trailer for the film which didn't quite sell me. On the flip-side, I'd heard plenty of positive buzz surrounding this futuristic revenge thriller and thought the premise seemed intriguing, if not a bit derivative. Regardless, I went in with an open mind only to be discover that Upgrade is one of the biggest surprises of the year thus far alongside the likes of A Quiet Place and Game Night.
While I was fully prepared for the possibility I might enjoy Upgrade, I wasn't ready for everything Whannell had in store. Even though the plot is pretty paint-by-numbers for a revenge tale, the film quickly finds its groove and diverges from that beaten path once Stem enters the picture. At that point, just think John Wick meets RoboCop with a dash of dark humor. The action sequences are strangely simultaneously awesome, gruesome, and hilarious because of the fast-paced gritty fight choreography and Logan Marshall-Green's contrary facial reactions to the bloodbath. This film is also a hard-R so expect gore galore, and I'd recommend you stay home or see something else if you find blood unsettling.
I've also got to give the film credit for portraying a futuristic society that was refreshingly not dystopian. Considering the film's sparse $5 M budget, I'd be mistaken not to applaud the work from the director of photography (Stefan Duscio), visual effects artists, set designers, and remaining crew members because this film does NOT look like it cost $5 M to make. In fact, I was shocked to learn that the budget was that low because Whannell managed to make that money go a long way. towards executing his vision. That alone suggests Whannell is a talent to watch in years to come.
Logan Marshall-Green stars as Grey Trace and makes for a convincing quadriplegic when physically restrained to the confines of a wheel-chair or stuck crawling around. Marshall-Green nails the physicality of the role and does an exceptional job emoting with reactionary faces as Stem "controlled" the rest of his body. That touch in particular lead to many of the film's funniest moments. However, the true scene stealing character was undoubtedly the Stem AI voiced by Simon Maiden. Maiden effectively imbued a disembodied voice with a semblance of a personality while restraining Stem just enough to never lose the AI credibility. Elsewhere, the ensemble is littered with two-dimensional characters who are unable to leave an impression. Melanie Vallejo, Betty Gabriel, Harrison Gilbertson, and Benedict Hardie each play a part in progressing the plot along, but theie characters ultimately amount to little more than plot devices.
While Upgrade may not adhere to its title and level up the genre tropes employed, it's well-worth the time and money you'll put into it courtesy of Marshall-Green's potent performance, an inventive premise spotlighting a unique AI, a surprisingly bold conclusion, a synth-techno soundtrack, and the film's unabashed commitment to its hard-R rating.

Film Assessment: B

Thursday, March 2, 2017

'Get Out' Review

Nominated For: Best Picture, Best Director; Jordan Peele, Best Actor; Daniel Kaluuya, and Best Original Screenplay.
Won: Best Original Screenplay.

In Get Out a young African American photographer Chris is invited by his white girlfriend Rose Armitage to visit her family over the weekend. Chris questions the invitation because he's unsure how Rose's parents will react to the revelation their daughter's involved in an interracial romantic relationship. Once the couple arrives, Chris notices plenty of suspicious behavior from Rose's family and while seeking the truth only gets further drawn into the bizarre ongoings.
Get Out is written and directed by Jordan Peele, marking his directorial debut and second feature length screenplay credit following last year's Keanu. Peele is most well-known for being part of the Keye and Peele comedy sketches and up to this point his career really specialized in comedy, but Get Out verges into the horror/thriller genre and stands well apart from Peele's previous work. Peele demonstrates social awareness with his direction and screenplay, not only creating suspenseful surroundings, but also effectively incorporating social commentary on current race relations. He doesn't skew it entirely on one side of the spectrum with racist generalizations or stereotypes and the way Peele is able to amplify the anxiety of real world situations to genuinely thrilling sequences is downright brilliant. 
Peele incorporates nice doses of comedic relief in Get Out you probably won't see coming and does a great job fleshing out his characters with his script. My only nitpicks are that certain twists don't hold up under scrutiny and that on occasion it's slightly predictable when it abides too closely to the formulaic design of most horror films. On the flip side, I need to give props to editor Gregory Plot, cinematographer Toby Oliver, the sound design team, and the score composed by Michael Abels for taking the tension to another level with precise execution in all areas. 
In the casting department, Daniel Kaluuya makes for an exceptional lead as Chris, providing a performance that's both subtle and well-defined. Kaluuya makes the suspense more believable with fantastic facial expressions extenuating his situation and authentically communicating awkward social environments. Elsewhere, Allison Williams puts forth a surprisingly complex characterization as Rose and the facets of Rose's family each get an opportunity to send a chill down your spine as respectively portrayed by Catherine Keener, Bradley Whitford, and Caleb Landry Jones. Marcus Henderson, Betty Gabriel, and LaKeith Stanfield are also unnerving in their respective roles and LilRel Howery stands out as Chris' friend Rod Williams with some great comedic delivery. 
Peele really outdid himself with his directorial debut and the talent at his disposal really worked wonders with the meager $5 Million budget. To sum it all up; stop what you're doing, Get Out and go see this!

Film Assessment: A-