Chronicle holds a certain pedigree aside past superpower standards by being quick, sharp, and not slowed down by the usual pseudo-explanations of energy-weapons and tele-antics. It is a series of footage filmed by Andrew, the vital but troubled anti-hero. For this sort of filming to work it has to be confident with its own dialogue; the filmmaker must cut to scenes with an idea of where it’s going, and Director Josh Trank does this successfully and entertainingly. He doesn’t spend long minute scenes of Andrew or Matt picking up clothes off the floor, but instead makes quick shots of these personal-effects, like Andrew using his telekinesis to turn his oxygen-deprecated mother into a more comfortable sleeping position.
So my take on the hand-held cam criticism is this: it’s a novel metaphor. The cameras lack of steadiness makes it troublesome to follow in its righted-angles and thus making us have to exhibit a form of telefocus (Yes, I just said telefocus). The audience has to work and absorb with their powers of mutual information; we can understand ungrammatical and terribly spelled sentences because we are familiar with them and can make connections. The same goes for images.
The teenage innocence that bears the exposition weighs heavy in the films overall, fairly short, run-time. The film gets in gear when the turmoil of Andrews’ mother’s death and his rampaging father kicks him in the stomach, filled with superpowers and anger, a combination that any comic-book fan can predict as being fatal. It could be argued that the reasons behind his fatal-conclusion was not self-induced; indeed, it is a theme of Schopenhauer. Andrew exerted his power with destructive grace, but could have continued, if it wouldn’t have been for the intervening will of his cousin; so in the end, his cousin nor himself were the cause, but only puppets of power.
Matt, Andrews cousin, displays his interest in Philosophy, and most boldly, in like said, Schopenhauer. For movies with lack of substance It’s always key to remember the heavy-dialogue and store it to be thought about at later times. While Andrew was an introvert, which most of the time in the movies is analogous with intelligence, his cousin is well-tempered and profited with philosophy.
The cause-and-effect dualism is expertly crafted in this movie because all that’s seen is in the bounds of of their powers, a feature length exploration of ability. We don’t see how the characters arrive at the scenario, but why they are there through the action that ensues; It’s like every scene is an open frame, with wild things happening all around. The film weaves itself across its tragedies and out the other end with a sense of honest optimism. A short, yet affecting kinetic thrill ride.