Four years ago, while in the theater to see The Equalizer, I saw the trailer for the first John Wick and my friend and I had the following conversation:
-Stupid Me: “HAHAHAHA”
-Stupid Friend: “HAHAHAHA”
-Stupid Friend: “you seeing that?”
-Stupid Me: “uhhhh, B-movie Keunu Reeves movie…yea no lol”
Well, we were completely wrong. Since that complete and utter misjudgment, I no longer assume that a B-movie looking trailer will bring what we once knew as low budget, B-Movie quality. Blumhouse Productions has further proven that low budget does not mean low quality. Split, Happy Death Day (from what I have heard), and especially Get Out have established BH as the premier low-cost, high reward production company for all your new favorite movies. They did it once again with the surprise movie of the summer (maybe even the year), Upgrade.
Upgrade takes place in the technologically-controlled, possibly near (but not too near) future and follows Grey Trace (Logan Marshall-Green), a self-proclaimed technophobe, after a tragedy leaves him quadriplegic and depressed. Left with little to no options, he signs up for an experimental computer implant called Stem to bring movement back to his body and revenge to those who wronged him.
First and foremost, director Leigh Wannell does an exceptionally magnificent job bringing this movie to life with everything outside the acting and story. The science-fiction aspects of the techno-future were advanced enough to make me believe it wasn’t the present, but grounded enough to make it still feel realistic. The groundedness is supported by a gritty tone, which Wannell sets up perfectly with very dark settings highlighted with patches of light that key in on important aspects of the scene. This establishes the dark nature of the story and the magnificently vicious action. This action is further glorified by the unique cinematography during the fight scenes. Cinematographer Stefan Duscio takes the camera and moves the shot concurrently with the movements of Grey whenever Stem takes over his body. All of this together intensifies the impact of the Grey's tragedy and aftermath, and allows the story to become the movie’s main appeal.
Going into the film, Upgrade seemed like it was going to be reminiscent of the aforementioned Keanu movie mixed with The Terminator. But I was pleasantly surprised to find that the action plays a backseat to the film’s writing, messages, and tone. This isn’t an action-thriller. It is a thriller with great action in it (there is a distinction). The action in the movie is still top notch, with some of the most excitingly new set pieces seen in recent memory. The sci-fi aspects also enhance the thrill and spectacle of the film. But it is the human qualities of the story that stick with the audience. It asks a lot of great questions about the pros and cons of technological advancements. Is artificial intelligence taking us too far removed from being human? Do the plights of humanity ever make virtual reality a viable substitution? What are acceptable ways to deal with PTSD? The technology vs human debate is confronted in new ways that make the audience think while they enjoy the exhilarating performances.
Logan Marshall-Green can now officially lose the moniker of “knockoff Tom Hardy”. This movie doesn’t flow like it does without Green’s attention to detail. He has to play three different roles in this movie (pre-accident “everyman”, post-accident quadriplegic, and post-operation human/computer hybrid) and excels at each. His movements, facial cues, and nuanced dialogue creates a captivating main character fighting to balance the relationship between man and machine within his own body. His performance also enhances every performance around him. Simon Maiden’s exceptional voice acting as Stem creates the visage that he and Green truly had a telepathic connection. Stem’s creator Eron (Harrison Gilbertson a.k.a. knockoff Dane DeHaan) and the villainous Fisk (Benedict Hardie a.k.a. knockoff Crispin Glover) generate thrillingly awkward exchanges with Trace. And it was great to see Betty Gabriel play something other than a creepy white woman in a black woman’s body.
The only knock on this movie is that it has some predictable plot points. I was often able to figure out the next thing that was going to happen in the film. Yet, the journey to get there was so different that the predictability doesn’t feel so predictable. Especially when some of those foreseeable plot points included slight variances that made them no longer so predictable. The climax and finale of the film could possibly be discerned by some, but may be a surprise to others. These nuanced plot points, performances, action pieces, and directorial choices that leave the movie with intriguing, sequel-worthy questions make this film one of the best of the year. I give Upgrade 9/10 no’s from Betty Gabriel.