Leigh Whannell's Upgrade feels like the type of film made for Netflix; a sort of mid-level science-fiction story constructed around one intriguing idea, and bulked up with elements from other, better genre movies. It's also the type of film I would consider for a few seconds whilst flicking through my Netflix queue, before opting for something else with a more compelling premise. Set in the very-near future, the film's main hook comes from a game-changing microchip that, when surgically planted in a willing - or unwilling host - allows body and foreign body to communicate with each other. Of course, it doesn't stop there. The implant can also turn down your nerve endings so you don't feel pain, and - with the host's permission - can fully operate your body and turn you into a hand-to-hand master. This comes in handy for grease monkey Grey Trace (Logan Marshall-Green) when the plot demands he seeks revenge on some baddies.
As well as possessing one of cinema's all-time most ridiculous names, Grey spends his time fixing classic muscle cars and drinking beer. This near-future is complete with iHomes and self-driving cars, but Grey is far more comfortable getting his hands dirty. His wife Asha (Melanie Vallejo), on the other hand, works for one of the big tech companies and has fully embraced this new digital, hands-free world. Opposites do attract however, and Grey invites his wife along to the isolated home of tech genius Eron Keen (Harrison Gilbertson), his most high-profile customer. Eron, who is clearly inspired by Elon Musk, is withdrawn, strange and undeniably brilliant, and also eager to show off his latest invention: a microchip he dubs "a new, better brain." On the journey home, their car experiences a catastrophic error, sending the couple down dark streets before crashing and overturning. Injured, they are then preyed upon a gang of masked criminals, who murder Asha and cripple Grey. Waking up paralysed from the neck down and understandably angry, Grey is offered a solution when Eron makes a rare public appearance at the hospital.
If all of this sounds familiar, it's because you've seen it before in countless other movies. Upgrade's greatest achievement is that it doesn't make you wish you were watching something else, and instead pulls you along into its world. This is mainly down to some spectacular action scenes, which combine well-choreographed hand-to-hand fighting with some nifty camerawork, which bends and turns along with Grey as he dishes out violence with a look of both confusion and excitement splashed cross his face. There's something hilarious about a body acting independently of the face, and Whannell wisely chooses to play up these moments. Marshall-Green is often unfairly referred to as a bargain-bin Tom Hardy (who is currently dealing with his own parasitic second personality in Venom), and while he fails to convince as a leading man, he's clearly enjoying himself. Produced by Blumhouse Productions, who churn out huge hits with incredibly modest budgets, Upgrade is infused with a grainy, B-movie aesthetic that give it an exploitation vibe and slightly grimy feel. I mean that as a compliment, and it's a shame that the excitement generated by the outrageous action scenes couldn't be replicated in the generic beats of the main story.
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