The Predator

2018’s The Predator, directed by Shane Black.

Starring Boyd Holbrook, Olivia Munn, Sterling K. Brown, Jacob Tremblay, Keegan-Michael Key, Trevante Rhodes, Thomas Jane, Alfie Allen, Augusto Aguilera, Jake Busey, and Yvonne Strahovski.

What is it about?

The Predator is about a military sniper, Quinn McKenna (Boyd Holbrook), who while out on a mission encounters a lethal alien creature that wipes out his platoon. Quinn is able to escape, but not before stealing some of the creature’s sophisticated hardware. About to be captured by his government, he sends it in the mail, and it is accidentally sent to his son, Rory (Jacob Tremblay). Quinn is rounded up and stuck with a gang of rag tag soldiers afflicted with mental illness (calling themselves, “The Loonies”) they are: Nebraska (Trevante Rhodes), Coyle (Keegan-Michael Key), Baxley (Thomas Jane), Lynch (Alfie Allen), and Nettles (Augusto Aguilera). A government agent, Traeger (Sterling K. Brown), is interested in securing and researching the predator, but things go off the rails when another predator shows up, with intent to cover up the first predator’s exploits and any humans involved. Can the Loonies (and feisty scientist, Casey Bracket, played by Olivia Munn) save Rory, and survive being hunted by the ultimate killer?

Why is it worth seeing?

The Predator is the fourth film in the Predator franchise. Director and co-writer Shane Black (who starred in the original), brings aboard his usual sensibilities- that of caustic quips, PTSD afflicted veterans, and child actors during seasonal events. Their fit in the series’ lore of primal machismo can be quite odd, and the plot resembles an alien dog’s breakfast.

Given their slimy and teeth baring science fiction parallels, comparisons between the respective Predator and Alien franchises are inevitable. The Sigourney Weaver-lead quadrilogy understood that its titular fevered nightmare antagonists didn’t really care for much beyond their instincts to survive (by killing everything else), and expand their colony- putting the onus on creating a protagonist (or in the case of Aliens, protagonists) worth following. Sigourney Weaver’s long suffering but relatable Ripley was someone who (relatively) had a clear arc from movies 1 through 4. The Predator franchise (plus Prometheus and Alien: Covenant), do not possess that. It instead chooses its human characters’ arcs to be episodic- and instead tries to give us glimpses of a dynamic from its own titular star(s). But as demonstrated in Predators, the predator race just isn’t that interesting as a character- can you give a knife more than an edge?

The Predator has no shortage of characters running through it. Between the alien creatures, Holbrook’s capable sniper, Munn’s barely connected overachiever, K. Brown’s shadowy man, the comfortable with alien technology Tremblay, Holbrook’s ex-wife, and the Loonies and their manic antics, there’s just too many prey running amok for each player to leave much of an impression, and if they do (especially , Sterling K. Brown, who steals the show) they don’t last long before off to the next (evisceration). You’re almost grateful for the thinning of the herd.

With the players established, cowriters Black and Fred Dekker are free to establish some kind of a plot to manifest our alien creature’s deus ex machina. In between the impossibly sharp wrist blades and shoulder mounted laser cannons- it’s pretty convoluted. From the predator who seems to have a different agenda (and DNA) than the usual garden variety Rastafarian space hunter, to Tremblay’s asberger character having more cache with the alien race than you would think, to the treatment of war veterans with PTSD, to the scientists trying to contain and research something without physical restraints, the results are quite unwieldy. Considering it’s made by the same guy who created Kiss Kiss Bang Bang and The Other Guys, it’s a step back. Relieved of the help from Marvel’s in house team, the action sequences, framed in the now ubiquitous Fox forest, need a lot of help as well- although having multiple reshoots probably explains a piece of the confusion.

With too many characters given too much to do, in a sometimes amusing film that is a bloody mess, The Predator continues the franchise vibes of video game-like continuity, repeating musical scores, verbal cues, and guttural screams, but omitting the mantras that made the original so successful. The film clearly sets itself up for a sequel- will we get some blessed continuity, and will anyone care?

Rating:

3/5

Trailer: Click Here.

Predators

2010’s Predators, directed by Nimrod Antal.

Starring Adrian Brody, Alice Braga, Topher Grace, Walton Goggins, Louis Ozawa Changchien, Oleg Taktarov, Mahershala Ali, and Laurence Fishburne.

What is it about?

Predators is about a group of lethal but unconnected individuals who wake up while free falling from the sky, before parachuting into an unknown jungle. The hastily assembled group, mostly comprised of soldiers from various places, are able to avoid killing one another long enough to realize that they are on an alien planet- and that they’re being hunted by a race of creatures that prey upon humans for trophies. Lead by cynical mercenary, Royce (Adrian Brody) and semi-maternal sniper, Isabelle (Alice Braga), the group, with Cartel member, Cuchillo (Danny Trejo), Soviet soldier, Nikolai (Oleg Taktarov), African soldier, Mombasa (Mahershala Ali), Yakuza member, Hanzo (Louis Ozawa Changchien), and doctor, Edwin (Topher Grace), have to figure out how to avoid becoming objects of taxidermy on a spaceship wall.

Why is it worth seeing?

Predators is the third film in the Predator franchise. With the previous 2 films taking place on earth, the creators do something novel and bring the humans to where the hunter creatures have home field advantage- it’s a smart move. It’s just a bummer that they forget to bring along characters worth caring about, exciting action, or even geek intrigue.

Similar to Predator 2, Predators helps us to learn more about the predators, an alien race of creature that feature futuristic technology- and a win or else mandate. By learn more, I mean we are introduced to different classes of Predator, as the large creature is dwarfed by an even larger creature. It reminds me of Transformers in the way there is little concept of scale for the unlovable Rastafarian looking aliens. We also get more toys (drones) and even alien dogs to help hunt their quarry. The problem is that the predators just aren’t that interesting. Part of the brilliance of Predator was that the film was a bit like Jaws in that it believed in less is more, and it took a while to figure out just what was this thing following the group was. It’s difficult to get that much character out of butchers at a slaughterhouse. As well, the sense of slick coolness for the efficient hunters has all but disappeared- making me pine for the original- or even part 2. But what of our protagonists?

Adrian Brody has a interesting filmography, and has even won an Oscar (2002’s The Pianist). Here, it’s difficult to take him seriously as an alpha male. He’s shown that he can be a jerk (Harrison’s Flowers) just fine, but here he just doesn’t have the frame. His attempts to emulate Christian Bale’s rumble growl from the Dark Knight trilogy doesn’t help. His reluctant co-star, Alice Braga, fares better, as the sniper who values human life- but it feels like she’s in the wrong movie, since the creators of the film don’t seem to. The rest of the cast, save for Walton Goggins, really fail to make much of an impression either way. I guess that’s why the movie is named after the antagonists.

Regarding action sequences, director Nimrod Antal tries to bring the pain, but he just doesn’t have the chops of 80’s auteur John McTiernan. Throughout the film, there is a distinct lack of geography during the action, leading to confusion as to what is happening where- with the notable exception of a sword fight between 2 characters. Featuring clarity, simplicity, and a high degree of art, its charms are frustratingly placed within a dreary project that after a sequence or 2, becomes a joyless slog (another death in the movie, is the killing off of the coolness of my favourite weapon of all time, the handheld M134 minigun). The same goes for how the jungle of the alien planet is presented. It really misses the chaotic and mysterious vibes of the original, here replaced with something non descript and unable to leave an impression.

All of these factors come together to create something that can feel pretty aimless at times, and its final scene makes us grateful the ordeal is over (for us). Featuring fresh meat that’s not that captivating to hunt, directionless directing for the action scenes, and a step down for our alien levels of intrigue, Predators can feel like the Lawrence Fishburne character: confusing, dreary, and out to lunch. Can I go home now?

Rating:

2.5/5

Trailer: Click Here.

Support the Girls

2018’s Support the Girls, written and directed by Andrew Bujalski.

Starring Regina Hall, Haley Lu Richardson, Shayna McHayle, James Le Gros, Lea DeLaria, Jana Kramer, and AJ Michalka.

What is it about?

Set in present day America,  a group of ladies work at a “Hooters”-like family restaurant called, “Double Whammys”. Lead by their manager, Lisa (Regina Hall), the girls such as Maci (Haley Lu Richardson), and Danyelle (Shayna McHayle), work at their jobs, managing sexist comments and eager-to-touch gestures from customers, all while they try to keep their lives together. Lisa takes on a lot of the younger girls’ drama, operating as a mentor figure to them. This approach contrasts poorly with the struggling establishment’s owner, Cubby (James Le Gros), who feels his employees are expendable and that Lisa has poor boundaries. Lisa is struggling with her personal life at the same time- will she be able to hold it together in the economic environment of America today?

Why is it worth seeing?

Support the Girls is a character study about a group of people who form a community through their employment. It features fantastic performances from its cast, and is a very patient and spontaneous film that is underrated.

There really is no justice in the world. Regina Hall’s last film, Girls’ Trip, grossed a boat load of money- and will be a strong contender for my least favourite film of this year. Meanwhile, Support the Girls, with an 85 score on Metacritic, appears to have covered its catering budget with its box office gross. It’s an interesting parallel to the underlying tone of the film- that of intelligent, good hearted, and professionally capable people desperately clinging to bare bones survival in early 21^st century America. Their reward seems to be scrutiny from their mistrusting employer- and a grateful wave to the employer down the street offering “competitive wages”. 

As noted, Regina Hall is wonderful here, warmly portraying someone who wants to do a good job for her employer, wants to be strong, fair, and fun towards her employees, who wants so badly to be a role model for women and an advocate to all. She’s tough- but not made of stone, and there’s even a wonderful moment of her expressing herself honestly to a uninvolved presence. Right beside her, is Haley Lu Richardson (so good already in The Edge of Seventeen, and particularly, Columbus), as a poster child for good natured but naïve optimism, who may be smarter than her scantily clad character lets on. Acting as a sombre wake up call to both of them, is the perpetually reasonable and dreary underdog of Shayna McHayle, who seems to get as little satisfaction from her job as she does camaraderie from the majority of her 20 year old drama filled coworkers.

Writer director Andrew Bujalski does a great job of creating a home away from home, with the practically lived in environment of the sad themed restaurant that isn’t too far off from closing for good, and the coworkers that can be tighter than some families. There’s the regular guest that wants to fight obnoxious customers out in the parking lot, or the sad old man a waitress takes a little too much interest in, or even an employee who has a zen moment by the dumpster in the back when briefly away from the chaos of it all. As a former service industry worker, it rings very true.

Bujalski’s comparisons to directors like Mike Leigh are appropriate, as he dives right in to his character’s lives for some serious qualitative study that is both quietly beautiful- and downright ugly at times. Through it all, there are no easy fixes given, it’s all tough choices we are obligated to make, and the film’s ending has the faith in its audience’s intelligence to work out resolutions to the challenges presented here.

Filled with solid performances and true to life studies of its characters, Supporting the Girls is deserving of more attention- it would be nice if its stars didn’t have to practically strip naked on top of a bar to get it. Bujalski’s intimate look at characters struggling to get by is worth noticing- for a guy who created the so called mumblecore movement, his latest feature really can scream with a conviction that it is worth noticing.

Rating:

4/5

Trailer: Click Here.

Predator 2

1990’s Predator 2, directed by Stephen Hopkins.

Starring Danny Glover, Ruben Blades, Maria Conchita Alonso, Gary Busey, Bill Paxton, Robert Davi, Adam Baldwin, and Morton Downey, Jr.

What is it about?

Predator 2 takes place in 1997 Los Angeles. Police Liuetenant Mike Harrigan (Danny Glover) leads his unit (Ruben Blades, Maria Conchita Alonso, and Bill Paxton), in a war against drug dealers in the city that they appear to be losing. Harrigan is often in trouble for misconduct from his superiors (Robert Davi), but his hot headedness seems to come in handy for getting to the bottom of why bizarrely gruesome murders have been taking place around the city. With a mysterious federal agent (Gary Busey) and his team further complicating things, will Glover be able to catch up with the Predator, and be able to survive the sporting alien?

Why is it worth seeing?

Predator 2 is the sequel to the 1987 original, and its strengths include letting the audience get to know further the mysterious futuristic alien race that comes to earth to hunt armed humans for sport, and introducing a new playground for it to search for its trophies. However, it suffers from a number of issues such as a strange contextual setting, atrocious acting, confusing motivations for our antagonist, a clear downgrade with the elderly protagonist, and general sitcom vibes.

The space alien predators, with their lobster inspired faces and futuristic Rastafarian war lord style, featured relatively minimally in the original. As a life long member of the Dork club, it is awesome to see more of the futuristic creature’s weapons, style, and mannerisms. Watching it take out Jamaican war lords and hubristic government agents with a flourish, is an unmitigated pleasure.

Moving the setting from the thick and isolated jungle to the teeming cityscape (so overtly referenced in the film’s opening shot), seems intriguing at first. There’s a lot of game to be had in such a dense area. But where to hide? For a creature so accustomed to operating in stealth mode, it doesn’t seem to mind shouting out from the rooftops about the abundance of spine in the city of angels (and what’s with the theme of 90’s movies, such as here, and in Demolition Man, asserting that Los Angeles would transform into some sort of a failed state war zone in under a decade?).

Indeed, Predator 2 also introduces another character quirk for our exotic antagonist- that of it being a little less selective in its targets. While the master hunter sticks to the maxim of not taking on anything not armed, we do have to deal with the implication of grannies with guns being taken out during the film’s confusing subway scene. Chaotic and difficult enough to follow, it’s not a good look for our inter stellar warrior. But that’s the problem with a film that features spinal columns being ripped from bodies and then at another point resembles a Bart Simpson sit com- as soon as it steps out of the formidable footprint established in the original, it starts to stumble.

And what of Arnold’s replacement as a trophy buck? Danny Glover is an odd choice, after already watching him complain repeatedly throughout the first 2 Lethal Weapon films of wanting his civil pension to kick in. However, he does bring a fire, and definitely punches above his weight class for what it’s worth. But it’s an odd pairing, matching that of the movie’s choice to use his cop squad to track the alien hunter. And it must be said that partner Maria Conchita Alonso is straddling Sofia Coppola in The Godfather III territory in terms of distracting fish out of water acting. Even Bill Paxton’s fun appearance as a flashy motor mouthed investigator, and Gary Busey’s delicious ham fest can’t save this land locked sturgeon.

Changing the battleground and the game, Predator 2 is a closer look at the iconic slick but lethal creature that varies wildly in tone at times (from gory shoot em up to sitcom), and can suffer from a general malaise that can’t wait for the chopper.

Rating:

3/5

Trailer: Click Here.

Predator

1987’s Predator, directed by John McTiernan.

Starring Arnold Schwarzenegger, Carl Weathers, Sonny Landham, Bill Duke, Richard Chaves, Jesse Ventura, Shane Black, and Elpidia Carrillo.

Nominated for an Academy Award for Best Visual Effects (Joel Hynek, Robert M. Greenberg, Richard Greenberg, and Stan Winston).

What is it about?

During the 1980’s, an elite special forces unit is recruited to enter into South America and rescue hostages from hostile guerillas. Lead by the formidable Major Dutch Schaefer (Arnold Schwarzenegger), the seasoned group (Sonny Landham, Bill Duke, Richard Chaves, Jesse Ventura, and Shane Black) are joined by a higher up, Dillon (Carl Weathers). The group is dropped off in the jungle, infiltrate a stronghold, and make short work of the rebels- before they start to get picked off, one by one, by some kind of an other worldly hunter. Possessing technology far beyond theirs, and size and strength not of this world, will any of the military squad be able to survive the alien that turns the hunters into the hunted?

Why is it worth seeing?

Predator is a science fiction film disguised as an action film, that much like its antagonist’s sleek contours, hides something quite potent. Its themes of G.I. Joes who initially go off to kick Central American ass while trying to perform contra inspired military chicanery, are elevated into how it feels to be on the receiving end of being hunted for sport. Its results are so exhilarating, unique, and influential that very few films have ever really compared to it- especially its sequels.

When looking at his career filmography, I can’t really wrap my head around how well John McTiernan’s second and third features went. A year after releasing Predator, he would go on to make Die Hard- another all time classic. McTiernan just seemed to thrive (at the beginning of his career) with subverting genres, and expectations (before flaming out and being incarcerated).

As alluded to above, Predator (originally called Hunter as a working title)’s first third is all Reagan-era macho bullshit. With bulging oiled torsos, corny puns, and rah rah unilateral decision making based around filling foreign people with lead consumed death, it’s one of the dumbest series of macho sequences ever committed to film. But McTiernan introduces another genre, both during and especially after the first third of the film- horror.

Nobody will ever confuse Predator’s vibes with that of horror classics such as Rosemary’s Baby, Texas Chainsaw Massacre, or Alien (among others). But McTiernan develops a vibe of uneasiness, amongst some of America’s finest fighting machines, that leads to outright fear and hesitation. We share with the group their realization that there is, something, out there in the impenetrable jungle, with technology beyond anything they possess, and size and strength that dwarfs them- that is hunting them 1 by 1. We share their lack of knowledge, and fears, towards this unrecognizable and unclassifiable thing that doesn’t seem to have an agenda- other than collecting spinal columns and skulls. It’s just so alien to us, along with its strangely hypnotic vision.

While propelled by a supremely underrated score by Allan Silvestri (and the appearance of the greatest fictional infantry weapon in film’s history, the handheld M134 minigun), Predator didn’t win any screenplay awards for its 1 sentence elevator pitch: a group of marines is hunted by an futuristic Rastafarian alien.  It’s kind of silly. And consistently awesome, in a boy scouts’ advertisement kind of way. The simplicity is what makes it such an enduring classic.

With a slick sci fi theme containing moments of suspense to enhance its macho mandate, Predator would launch Schwarzenegger’s career into the stratosphere, and a host of sequels and tie ins that would result in watering down the potent idea presented here- a common issue in Hollywood. If it bleeds, we can kill it- or at least replicate it to death.

Rating:

4.5/5

Trailer: Click Here.

Ibiza

2018’s Ibiza, directed by Alex Richanbach.

Starring Gillian Jacobs, Phoebe Robinson, Vanessa Bayer, Richard Madden, Jordi Mollà, Michaela Watkins, and Anjela Nedyalkova.

What is it about?

Ibiza is about a New York based cosmetics business woman, Harper (Gillian Jacobs), who is sent on special assignment to Spain. Taking her 2 best friends, Leah and Nikki (Phoebe Robinson and Vanessa Bayer), the wild group are swept up by the exotic locals and electronic dance scene. Harper becomes entranced by a charming DJ, Leo West (Richard Madden), but will have to decide between her career goals and a weekend of partying with her best mates and potential boyfriend. With a mercurial and demanding boss (Michaela Watkins), will she keep her job and be able to find happiness?

Why is it worth seeing?

Ibiza is a Rom Com that really knows how to party, and during all the fun manages to sneak in some moments of female bonding and romance. While it’s recommended to not think about it too much, it manages to flow along a crest of good vibes to become a place worth visiting. 

Front and centre in all of the fun is Gillian Jacobs, who’s capacity as a level headed heroine is increasing in each role she takes on. Her attractiveness and love for fun draw us in, even when her and her friends’ attitudes threaten to resemble that of the ugly Americans. Her best buddies, Phoebe Robinson and Vanessa Bayer, prove excellent as the supporting cast. While the material they’re given along the lines of Bridesmaids debauchery isn’t that funny, it’s their chemistry that makes them successful. Richard Madden, as the object of Jacob’s affection, isn’t as dynamic- and the claims that he is more of a musical producer rather than a plug and play DJ seem disingenuous.

Most important to the carefree vibes of the group’s adventure, is the country of Spain. Populated with a never ending variety of happy go lucky, endlessly gregarious, and helpful characters, they are as likely to play guitar and give the ladies a ride as they are to offer refreshments, MDMA, and no strings attached sexual experiences. It proves an ideal setting to populate the movie's EDM vibes.

Like most rom coms, Ibiza is a fantasy that has little bearing to reality. At times, it veers close to the scatological failure that is Girls’ Trip, but unlike that unpleasantness it has characters worth caring about, and its ending makes a choice that is refreshing for the genre. Even the escalated psychotic aggression of Jacob’s boss (Michaela Watkins) borderline works- at least for anyone who has had an employer before.

Not that funny, and veering close to fantasy having little to do with reality, Ibiza’s charms of characters worth caring about, camaraderie, and interesting conclusion make for a care free romp through the Spanish world of EDM.

Rating:

3.5/5

Trailer: Click Here.

Tag

2018’s Tag, directed by Jeff Tomsic.

Starring Jeremy Renner, Ed Helms, Jake Johnson, Jon Hamm, Hannibal Buress, Annabelle Wallis, Brian Dennehy, Isla Fisher, Leslie Bibb, Rashida Jones, and Steve Berg.

What is it about?

Tag is the story of 5 lifelong buddies who have had a decades long competition to play tag with one another. As grown men in their 40’s, they take a month during each year to pursue their game. A Wall Street reporter (Annabelle Wallis), originally assigned to a story on a successful CEO (Jon Hamm), realizes that the real story is in Hamm’s camaraderie with middle aged pothead (Jake Johnson), middle aged professional (Ed Helms), middle aged intellectual (Hannibal Buress), and middle aged elite over achiever (Jeremy Renner)- who’s never actually been tagged before. The group conspires to tag the practically super human Renner- will he finally be tagged?

Why is it worth seeing?

Tag’s marketing promises it to be a comedy, with comedic actors dotting its cast. However, the laughs arrive pretty sparsely, and its plot will only appeal to a select group of people who can look past a ridiculous premise long enough to see glimpses of lifelong friendship, and for those who think friends slapping each other constitutes action.

Despite the fact that Tag is (loosely) based off of a true story, it’s premise feels unbelievable. It might be because the cast’s chemistry is off, or because we don’t really get to know the group beyond their thinly sketched archetypes. Either way, we’re not that interested in their obsession, nor in the characters since we don’t really get to know that much about them. Screenwriters Rob McKittrick and Mark Steilen try their best to stealthily dump exposition through the fake journalist character, but no dice- no wonder print is considered dead. Can we know more about the Johnson character, the underdog of the cast? Or about Helm’s “focused” wife (played by the indomitable Isla Fisher)? Or Buress at all?

Sparsely populated with laughs or characters worth caring about, Tag also comes up short in its action moments, as it attempts to be a sort of comedy-action hybrid (similar to the very successful, Game Night). With the Jeremy Renner character having (the Guy Ritchie version of) Shirlock Holmes-like powers of deduction and fast twitch muscles, there’s attempts to make the tagging scenes action packed. It’s just not exciting or authentic enough to really care about, and that’s before they start ripping off scenes from Predator. One suggestion? Use the logic of the 10 individuals the movie is based on, where you can’t tag back immediately. You can avoid scenes of grown men in circles slapping each other back and forth- should you decide to make a motion picture about it.

Despite being based off of a true story Tag is difficult to believe, tough to be excited by, genuinely bereft of laughs, and possessing disappointing characterization- this is one game that is worth considering passing on.  

Rating:

2.5/5

Trailer: Click Here.

Upgrade

2018’s Upgrade, written and directed by Leigh Whannell.

Starring Logan Marshall-Green, Abby Craden, Benedict Hardie, Harrison Gilbertson, Melanie Vallejo, Betty Gabriel, Steve Danielsen, and Simon Maiden.

What is it about?

Upgrade stars Logan Marshall-Green as Grey Trace, a mechanic who one night is with his wife (Abby Craden), when they are attacked. His wife does not survive, and Grey is rendered a quadriplegic. Widowed and paralyzed, he is approached by a tech company owner (Benedict Hardie) who offers to implant an artificial intelligence chip into his spinal column that will not only help him regain his mobility, but will turn him into an elite killing machine. The mobility comes with the voice of A.I. guide, STEM (Simon Maiden), whom is also handy for on the fly instructions. Newly emboldened, will Grey be able to get revenge upon his attackers?

Why is it worth seeing?

Upgrade is a futuristic (but plausible) B film featuring plenty of action, and a kooky conversation about the perils of technology’s intersection with human beings’ evolution. Its story has been told before (and better, such as in Ghost in the Machine), but it’s high wire fight scenes, gratuitous gore, and interesting message make for something lightly fun.

Writer-director Leigh Whannell’s experience as the writer (for some), actor (mostly first one) and producer (for all) of the Saw franchise shows here, as Upgrade can be pretty grisly in terms of the violence depicted and even its bizarre medical scenes- but its moments of action are without a doubt thrilling. Whannell does many interesting camera tricks to dress up the choreography of the hand to hand combat packed in here, and it helps to disorient us as much as our protagonist coming to grips with his newfound abilities. It can even be pretty comical watching Marshall-Green’s character struggle to stay in step with his now killer elite semi-independent body’s actions.

Whannel’s script brings to mind a conversation that’s been had many times before, in terms of mankind’s uneasy relationship with technology. Not just the perils of artificial intelligence, but even more so our evolution from human beings to… something else. It’s tough to not agree with Upgrade’s viewpoint about humans welcoming technology to make them physically and intellectually superior to what they were before. In a society where everybody owes and everybody pays, there is no free lunch- and there are side effects to shoving metals in our bodies that have the capacity to compute information faster than the most brilliant of human minds.

While Whannell seems to prefer more kinetic thrills and goofy side attractions to the straight up philosophical aspects of its subject matter, Upgrade’s ending leaves a lot of room for contextual discussion regarding what human beings are transforming into as we invent machines that are deadlier, faster, and smarter than their creators. With so much potential (and distraction), its hard to imagine us not welcoming our next stage of evolution with open metallic arms.

Rating:

3.5/5

Trailer: Click Here.