Chronicle

If shaky-cam film Cloverfield (2008) felt like giving a video camera to a random victim in a Godzilla movie, Chronicle is the equivalent of watching Revenge of the Sith through Anakin Skywalker's own YouTube account and the iPhones and FlipCams of various Jedi.

While I love several entries in the "found-footage" genre (my favorites: Cloverfield, the Norwegian Troll Hunter, and The Blair Witch Project), the device has felt limited in scope and appeal. Could it be used much outside of horror? Could it not induce vomiting, or look like a junior higher made it? How much more could really be done with the confines that a character has to hold a camera all the time? But by innovatively combining this device with the increasingly tired genre of superheroes, first-time director Josh Trank and writer Max Landis (son of John) come out of nowhere to invigorate both. It's a joy to see true inspiration on film.

Dane DeHaan as Andrew

Chronicle is a surprisingly complex, personal, and dark video diary of three Seattle teens who mysteriously gain Jedi-like telekinetic powers. It's fast, fresh, furious and frenetic while managing to still be personal and moving at the same time. It's Carrie meets The X-Men meets TV show Heroes.

Most of us love to believe we'd use superpowers for the greater good, to help people, to be heroes—and with great responsibility. But Chronicle maintains that most teens—indeed, most of us—aren't Peter Parker. With great power comes no guarantee at all of responsibility. "In stories, superpowers are generally applied to good and evil, but in reality they'd be applied to necessity," says Trank. "And when you're a teenager, necessity is really about making yourself happy. You'd want to laugh and have a good time with those powers."

At first, having fun is how Andrew (True Blood's Dane DeHaan), Matt (Alex Russell), and Steve (Friday Night Light's Steve Montgomery) use their new gifts. In several playful discovery scenes, they build Legos with no hands, prank people at the mall, and, in a wonderfully inventive sequence, play catch thousands of feet above the ground.

Alex Russell as Matt

But as the innocent novelty wears off and real-life struggles resurface, more selfish impulses take over. Why put up with jerks? Why not use these superpowers to pick up girls or become popular? Instead of asking if power needs responsibility, the movie explores the possibility that maybe those with power can do whatever they want.

This line of thinking—birthed out of hurt and humiliation—leads one of boys down an Anakin-like slippery slope. In fact, the film is a first-person chronicle (get it?) of his descent. We watch up-close as this hurting boy's natural desires to matter, to be liked, to help his dying mom, to find peace, and to stop being picked on eventually lead him to the dark side.

This relatable journey is captivating. Supported by strong characterization and great acting (especially DeHaan), this is a story that draws you in. You care. And that investment allows the filmmakers to stage a bold, epic final act that means more than just cool visuals.

In some ways, the movie could be seen as the origins story of a super villain—in the Unbreakable model of tossing comic book ideas into real life. Then again, Chronicle doesn't seem to think in terms of heroes and villains. A character commits evil acts, but the film seems to ask, does that make him evil? Another character reluctantly takes action to stop evil deeds, but does that one action—doing what only seems decent—make him a superhero? Fitting a time of moral ambiguity, Chronicle seems to suggest the ideas of superhero and villain are dated; everyone is a mixed bag of good and bad. In the end, the movie is an effective—if post-modern and ambiguous—portrait of how the bullied become bullies, how hurt people hurt people and how good intentions line the path to hell. It's a less didactic To Save a Life.

Andrew, Steve (Michael B. Jordan), and Matt get a kick out of their powers

Could the movie's story have been as effective if filmed in the standard fashion? Sure. But using "found footage" from various characters cameras, phones, iPads, etc. accomplishes several things. We gain access to extra insights about the central character since he's doing the filing; making this, in effect, an autobiographical character study. Also, the film continues the usual found footage movie's commentary on our culture's fascination with self-documentation. We don't merely live life. We chronicle it—behind the safe barrier of a lens.

I was thrilled to see how the film improves on the traditional use of the self-held shaky-cam gimmick. First off, it's not so shaky. The main cameraman character, Andrew, is a big film geek and, thus, has good equipment. Also, using his telekinetic powers, Andrew discovers he can levitate the camera so that not only does Chronicle believably get its cameraman on screen but we're treated to more cinematic, movie-quality visuals than camcorder shots.

In the final third, Trank blows the doors off the found-footage genre by splicing together footage of the climatic final battle "captured" from security cameras, police car cameras, helicopter cameras, tourists' iPhones, etc. Essentially, it's like a 153-camera shoot of ever-switching perspectives. This final sequence itself—both for how it is shot and its satisfying spectacle—would be good for a $200 million summer action blockbuster, not an indie made for $15 million.

Before long, the lightness of the situation turns dark

Not everything works. The story takes shortcuts; in two places particularly major events occur and then, in the next scene, it is as if nothing happened. There's the old superhero question of "Why is he driving a car to the emergency … when he can FLY?" The need to always explain why a camera is running creates a few misfires. For instance, why is Matt's ex-girlfriend filming her closed front door?

Such ambition often leads to a few misses. But the innovation, clear vision, and story behind Chronicle make it a taut journey into the heart of darkness that is more than just a ride.

Talk About It

1. Andrew admits that his video camera is a barrier that keeps him separated from people. Do you understand that idea? What does it mean to you? Do you tend to see life through a lens and share pictures and video? Why?
2. Andrew talks about being an apex predator that doesn't need to feel guilty for killing members lower on the food chain. Does power make somewhat morally above others? Why don't we feel guilty for killing a fly? Should we?
3. In the end, Matt suggests that Andrew was still a good person. Do you agree? How do we judge a good or evil person? Is there such a thing? Is someone who does evil actions actually evil? Do one's actions define them?
4. If you had these powers, what would you be tempted to do? Honestly.

The Family Corner

Chronicle is rated PG-13 for intense action and violence, thematic material, some language, sexual content and teen drinking. While not a horror film, there are tense scenes, blood, and shocking moments. One teen's teeth are bloodily torn from his mouth. A character uses his mind to tear a spider into a hundred pieces. There are a few teen party scenes with drinking, implied sexual activity, etc. There is graphic conversation and hand gestures about sex acts. A father threatens and beats his son. A character smashes others into the pavement and violently robs a gas station.

Photos © 20th Century Fox

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