Chronicle, the most recent entry into the “found footage” canon, slickly updates the superpowers-plus-adolescence-equals-chaos template of Carrie and Buffy the Vampire Slayer. Three teenage boys discover a strange glowing rock which endues them with telekinetic powers that grow stronger with use. What could easily be the fodder for any generic cash-in on the supernatural teen genre wildly popular with Potter and Twilight fans has been cleverly reshaped as a quasi-naturalistic what-if-this-actually-happened story. That is, when teenagers are given superpowers, they’re much more likely to treat them with the childish fascination usually reserved for the latest Apple product than use them to stop armed robberies. Like last year’s excellent Attack the Block, Chronicle expertly delivers an otherwise ho-hum premise through a wealth of character-driven and true to life details.
The story focuses primarily on Andrew, a troubled young teen with a difficult home life. The movie begins with scenes that primarily exist to root the story’s final events in the everyday tragedies of his life, both large and small. Actor Dane DeHaan does an excellent job of fleshing out the wounded boy torn between the fear of further wounding and the irrepressible desire for community. His cousin Matt tries to be helpful, but the prickly Andrew does not readily yield to his friendly overtures. He does, however, follow Matt and his friend Steve down a strange hole at the edge of the woods where the mysterious empowerment occurs.
As in other super-powers and hormones stories, the new-found abilities amplify the characters’ pre-existing traits. While Matt and Steve are relatively normal and approach their powers with a measure of respect, Andrew is slowly discovering a new weapon with which to lash out at the world. It begs the question of Hollow Man: if society’s constraints no longer bind you, what motivation do you have to be a moral being? What if you didn’t like society in the first place?
To the film’s credit, this inevitable march towards madness occurs with a sense of pace and purpose punctuated by emotionally explosive moments (sexual humiliation, paternal abuse) that serve as catalysts to his simmering rage and confusion. He remains a tragic figure throughout, giving the film a soul that another like it might lack; giving its wildly entertaining conclusion just the right amount of emotional freight.
My only real problem with the film was its slavish commitment to the found-footage format, occasionally requiring it to awkwardly invent reasons for people to be holding cameras at different times. For the most part, it works as part of Andrew’s deeply disturbed detachment from others. Also, the introduction of a free-floating camcorder via telekinesis means the sickly shaky-cam of Cloverfield is nowhere to be found in the film’s busiest scenes. Still I think the mixed media format of District 9 might have served it better, switching between camera formats as it served the story while retaining the emphasis on casual naturalism. In the end, it’s that down-to-earth sensibility that makes the film work irrespective of its primary cinematic conceit. The recognizable pieces of normal life provide the needed contrast to let its flights of fancy really soar.