Jeremy (Shan Agish) is a computer genius, with IQ levels that compare to Stephen Hawking. He is in the process of developing a software that will allow individuals to convert thought to text and speech, but one day his life is changed. When a gang brutally beats him within an inch of his life Jeremy loses the ability to use his arms and legs, and he realizes that he has managed to develop telekinetic powers. With this horrific tragedy and the unexpected turn of events, Powerplegic is born–something akin to a superhero, and he’s ready for revenge.
In one of the most ridiculous films I’ve seen in a long time, Powerplegic presents viewers with one of the most painful narratives in cinematic history. Films like Zombeavers and Velocipastor are intentionally stupid, and I believe that Powerplegic is intended to exist in the same vein as those aforementioned films. The premise of this film is so ridiculous that it’s clear that other aspects of the film will have to shine brightly in order for the film to succeed (or even to create a small cult following). Sadly, none of those things ever come to be, and Powerplegic falls away quickly, failing to reach viewers in any capacity. Powerplegic just doesn’t possess the same vigor as those aforementioned films, and it becomes difficult to appreciate what’s occurring from early in the film.
The acting as a whole is below average. It’s difficult to watch some of the actors convey their lines as they struggle to convey emotion with any sort of hardiness. Writer-Director Natalie Degennaro doesn’t develop lines that fit with the tone of the film, always employing her actors with awkward and ineffective comedy in times of drama and plight. While this certainly isn’t the actors’ faults, as they simply have to speak the lines given to them, seeing some of these actors, who clearly struggle in general, express these weirdly left-of-center lines causes a series of issues for viewers. First of all, the lines just aren’t believable, and second, seeing the actors struggle so immensely is off putting. No one believes that the events depicted in Powerplegic are real, but there needs to be a common denominator between the real world and what viewers see and hear on screen. There are a series of issues present throughout Powerplegic, but the acting, both as a result of the talent of the actors and the writing of Degennaro, fails on so many levels, leaving viewers disappointed.
Powerplegic is a low-budget film, I get that, and I’m not completely turned off by the things that come as a result of this–but something that needs to be fixed, and all it takes is a little practice, is the cinematography. I often felt dizzied by the camerawork, and not in the sense that I felt like I was immersed in the story, but in a way that made it difficult to follow the narrative. While the narrative itself wasn’t terribly interesting, it would have been beneficial if viewers were able to follow along and see what was occurring throughout–but this aspect of the film is far too rough for this to happen.
Everything about Powerplegic makes it difficult for viewers to follow along. The acting is average, the film’s aesthetic, the cinematography, etc.–it all lends itself to rough filmmaking, and viewers struggle to remain focused as a result. I wanted Powerplegic to fall somewhere in the realm of Sharknado or Zombeavers, cheesy, but uniquely laughable–but it falls so far from grace so quickly and fails to live up to my expectations. I hate telling potential viewers to avoid films (so I won’t), but you’ve been warned.
Directed by Natalie Degennaro.
Written by Natalie Degennaro & Arthur Schurr.
Starring Shan Agish, Dan Berkey, Margie Ferris, James Gill, Salvatore Hodgson, George McCann, etc.
⭐⭐⭐½/10
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