#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – Set in the near-future, technology controls nearly all aspects of life. But when the world of Grey, a self-labeled technophobe, is turned upside down, his only hope for revenge is an experimental computer chip implant.
Plot: A brutal mugging leaves Grey Trace paralyzed in the hospital and his beloved wife dead. A billionaire inventor soon offers Trace a cure — an artificial intelligence implant called STEM that will enhance his body. Now able to walk, Grey finds that he also has superhuman strength and agility — skills he uses to seek revenge against the thugs who destroyed his life.
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|7.5/10 Votes: 162,010|
|7.5 Votes: 2697 Popularity: 35.654|
_We… Are Stenom…_
Based on the trailer alone, I was pretty sure _Upgrade_ was gonna be a movie I enjoy. But after those last couple of minutes? Now? I’m pretty sure this is gonna be my favourite movie of the year.
_Final rating:★★★★ – Very strong appeal. A personal favourite._
Low budget, but well done sci-fi. It’s not overly cerebral; there’s a consistent amount of action throughout. Worth a watch.
Well worth the price of a ticket
I went into this with fairly low expectations. The trailer looked good, and the cinematography looked exciting. But the premise seemed tired and worn.
*in a deep, movie-voice over voice* some guys kill his wife, and now he’s seeking revenge”.
But this film surpassed my expectations, and was a well-worth experience. Not only was I correct about the cinematography being exciting and engaging, but the plot actually strung together compelling way. This film came out of nowhere for me, and now, it’s a memorable film that accomplishes the most important goal of any great film: gets the audience to keep wondering about it.
Since I don’t want to go into spoilers, I’ll say one last thing: pay attention to the Foley artist’s work. The sound design is poignant and additive to the experience. It reminds me of the clever usage of music from Baby Driver. Nothing is wasted and is always enriching of the world building. With Baby Driver, the music was giving us Baby’s personal experience. Here, the sound effects give us Grey’s point of view. Didn’t experiences, but both are elevated through sound, masterfully.
I genuinely want to see it again. If the trailer interested you at all, go see it. It’s worth your while.
Venom, but Sci-Fi, Gorier, and Better
As stories go, Upgrade isn’t anything particularly spectacular. There’s some really good ideas of course, but the idea of cyborgs and AI taking over humanity are as old as technology itself. It also surprisingly draws parallels to a superhero movie released in the same year; Venom, where a normal Tom Hardy-looking guy finds himself possessed by an entity that helps him get what he wants by controlling his body. Where Upgrade really shines is in its execution. The build-up leading to multiple multi-layered twists upon each other lend the film an unpredictable narrative complexity, where multiple rewatches are guaranteed to illuminate more subtle complexities, callbacks, and foreshadowing.
Something that really makes Upgrade stand out is Logan Marshall-Green, who offers a truly impressive physical performance that is both demanding and complicated to achieve. The controlling of his body by an AI leads to some stylish fight choreography, and Marshall-Green doesn’t stutter in adding robotic, calculated movements to those scenes, while simultaneously acting in juxtaposition with his head and facial expressions. He’s confused and bewildered while he slices a guy up with a kitchen knife, he brags and gloats while his body effortlessly dispatches of goons, he pleads with bad guys not to continue fighting while his robotic-moving arms quickly and decisively disarm and dispatch of them. He holds such an impressive disconnect between his head and his body that I couldn’t even imagine how hard it must have been to develop such physical coordination while acting and making it look effortless at the same time. Marshall-Green has never particularly impressed me before, but he has now.
Even further though are clever uses of cameras adding another dimension to the film’s visual identity. The high points are, again, the fight scenes, where the camera is just as involved in the choreography as the actors and stuntmen are. To add an even greater emphasis on the disconnect between Grey’s mind and his body, the camera often keeps him fixed in frame while the settings around him movie. He’s just enjoying the ride while his body does the moving, and we’re put in that mindset. The way they did it is mount the camera in a rotating frame, hide a phone on Marshall-Green’s body, and get them to match orientation. When Marshall-Green moves, the camera moves with him. This becomes especially impressive when Grey ducks and dives, or does full-on back-flips, and the camera mirrors his movements perfectly.
Beyond that, the cinematography goes a long way to make this low-budget movie look much more expensive. Lighting is dim and harsh, camera angles are conservative yet stylish, and the CGI is used sparingly and only when absolutely necessary, which has a knock-on effect of grounding an otherwise futuristic world without getting too lofty. The score by Jed Palmer is also fantastic. I was maybe a little disappointed that Whannell didn’t go for a Saw-esque climatic track for the third-act revelations, but nonetheless the score is evocative of sci-fi movies of the 70s and 80s, with borderline synthwave tracks interspersed amongst more ambient sounds.
Upgrade is a solid sci-fi flick that manages to be refreshing and unique despite its otherwise overdone story elements. It ended up being a better Venom movie than Venom. All it took was an imaginative filmmaker like Leigh Whannell. I honestly can’t wait to see what he manages to do next. I give Upgrade a solid 8/10.
Original Language en
Runtime 1 hr 40 min (100 min)
Genre Action, Sci-Fi, Thriller
Director Leigh Whannell
Writer Leigh Whannell
Actors Logan Marshall-Green, Melanie Vallejo, Steve Danielsen, Abby Craden
Country USA, Australia
Awards 3 wins & 25 nominations.
Production Company Goalpost Pictures, Blumhouse Productions
Sound Mix DTS (HD Master Audio 5.1)
Aspect Ratio 2.35 : 1
Camera Arri Alexa Mini, Panavision C- and E-Series Lenses, Arri Alexa XT, Panavision C- and E-Series Lenses
Laboratory EFilm (digital intermediate)
Film Length N/A
Negative Format CFast 2.0, Codex
Cinematographic Process ARRIRAW (3.4K) (source format), Digital Intermediate (2K) (master format), Panavision (anamorphic) (source format)
Printed Film Format D-Cinema