Maxi Article Your Free Article Directory – Articles Submission

Three secondary school seniors find themselves out of the blue bestowed with superhero-like power. Unlike most superheroes, they use this strength not for saving people, but for having enjoyable. They pull pranks, impress girls and continue flying joyrides. As they test the newfound powers, they become close close friends… until one of them begins to shed control.

Found footage films have gotten a bad rap within the last year and this is just not necessarily because the data format is flawed but considering that the format is being employed poorly by bad videos. This is not the situation with CHRONICLE, a smart, fun, lean and mean twist on the superhero movie.

Both the superhero origin story plus the found footage film include each been done so often – and, frankly, so poorly – that the thinking behind yet another attempt at each barely registers for the Richter scale of interest. Yet somehow a movie which is both a found footage movie and a superhero origin story deals with to inject new along with exciting life in every single genre.

As the tagline is going, the film subverts your old Uncle Ben maxim and watches what happens when with great electrical power comes no responsibility. Instead of a noble Peter Parker planning to fight crime, the three teenagers in CHRONICLE blessed with a superhuman form of telekinesis use their newfound powers the way in which you’d expect a number of actual teenagers to. They fuck with people for the mall, impress friends at the varsity talent show and pick up drunk chicks at events.

Like CLOVERFIELD before the idea, CHRONICLE is an old story finished with a new twist. The story here is hardly groundbreaking – it is essentially X-MEN meets AKIRA – playing with its execution, first-time director Josh Trank makes a film that appears fresh despite an oxygen of familiarity.

The film follows Tim (Dane DeHaan), the dorky one, who sets up this found footage format when he buys a well used video camera to convert the tables on the abusive father. But unlike CLOVERFIELD, where the steady-handed cinematography connected with Hud always felt man-made, Trank and writer Max Landis discover a clever hook to aid in the filmmaking.

It starts with Andrew and another high school girl who shoots video to be with her blog (mostly of the things that rang false) from other cameras to tell your story. But as the video progresses, Andrew upgrades his digicam and, with his powers, floats it around himself as if he were the star of his very own perverse reality TV display. He’s a kid that never had any motive to feel good about himself and after this, as his ego grows out of control, he documents his unique every step. This gives Trank to be able to free Andrew from driving the camera, allowing audiences to better connect with the character that serves as the two hero and the bad guy. And in the film’s next act, when the scope with the film grows exponentially, the use of security cameras, news footage and amateur mobile phone video are all spliced in to enhance the storytelling.

Watch Chronicle