Saw writer Leigh Whannell teams up with Blumhouse, the company behind strikes Get Out and Split, for a mixed bag of slick stunts and gruesome silliness
It’s always fazing to walk out of a movie and be confronted by real-world news mirroring the events that precisely played out in the theater. But it’s rarely as specific or dystopian as scrolling past a breaking bulletin on a fatal self-driving car gate-crash directly after watching such an appearance on screen.
While Saw novelist turned head Leigh Whannell has situated his new sci-fi thriller Upgrade in a future chock-a-block with fantastical new technologies, he’s undoubtedly not more far from reality’s mark. Automobiles have already learned to pilot themselves in 2018, and Whannell only needed to extrapolate one step furthest with sleek honeycomb-shaped plates crossing the windows for peak privacy. When one such vehicle malfunctions, it leaves our male Grey Trace( professional Tom Hardy lookalike Logan Marshall-Green) and his tech administration spouse( Melanie Vallejo) defenseless from a roving party of crooks. He leaves the situation quadriplegic; she doesn’t make it dwelling. The resultant madnes initiates Grey Trace- perhaps “the worlds largest” heinous reference reputation since After Earth got away with Cypher Raige- to an invented figure modification called Stem that takes automation to its logical extreme. And all the while, these extremes feel a little too logical for comfort.
Whannell shapes no bones about his luddite leanings, grabbing on the relatively simple theme of” engineering, bad !” and utilizing it with finesse to AI, VR and assorted other two-letter combinings. He’s realized his future with an eye for immersive item, even as his ideologies peg him in a more fogeyish mindset. While Whannell grapplings with warring desires to fret over the techno limbo we’re hurtling towards or have a laugh about it, that conflict reveals in a disappointing tonal clash that cheats the movie of the low-rent fun it could be having. They don’t call it the “future tense” for nothing, but the guy could stand to loosen up a little.