A single, even interesting, idea isn't a story. Unless you go to the effort of building a complete story around it all you end up with, at best, is a vignette.
This is the case with LIFECHANGER. We don't really have a story in LIFECHANGER, we have this situation/vignette of a primary character shape-shifter that, a la INVASION OF THE BODY SNATCHERS, assumes the identity of people by "consuming" them, leaving a sort of mummified-looking cadaver husk behind at the end of the process. The gimmick in this shape-shifter story, unlike most shape-shifter stories, is that this shape-shifter has to shape-shift in a consumptive fashion in order to survive. Originally, when younger, our shape-shifter only had to transmogrify once every few years. Now, probably as a result of advancing age, he/she/it has to consume a new person every day or two. If it doesn't, it begins to show visually apparent signs of decay. Presumably, failure to consume another person in time will result in death, although our shape-shifter does not seem to be fully aware of all the rules that apply to shape-shifters. The situation just IS; no exposition or explanation.
A fast succession, one after the other, of shape-shifts or plain murders, all in the name of survival or to keep concealing the secret, are all that constitutes the "story" of LIFECHANGER. The rapidfire chain of death abruptly comes to an end, conveniently after the amount of time constituting a movie has expired, when the protagonist accidentally consumes the only person (other than its own mother which it ALSO accidentally consumed early on) that it ever really cared about (again, other than its own mother). This emotionally upsetting event precipitates a decision to stop the shape-shifter cycle.
The shape-shifter, rather than dying because of going on the shape-shifting wagon, goes into a sort of rubbery chrysalis and emerges an old, balding man which we assume is what "he" have looked like had he never consumed all of the victims over the years. Right after the emergence from the flesh chrysalis, LIFECHANGER abruptly concludes with the following monologue from the shape-shifter/old man that's supposed to sound deep but only sounds like pseudo-intellectual jibber-jabber:
"I'm not dead. Why am I not dead? What am I? My mother once told me nothing last forever. Everything ends. I think maybe she wasn't entirely right. The choices we make leave echoes. The guilt we carry always lives on. You can blame your upbringing, the wrong ideas you had about just who you were and how the world worked. Blame how wrong you were about everything. Try to be better, but the guilt lives on. Tiny voice in the back of your mind, starting as a whisper and building to a chorus, growing until there's nothing left of who you once were, until you can't remember who you're supposed to be. Or maybe there was never anything of you in the first place. Maybe you never really knew who you were."
Ugh.
It's clear from this that the "writer" had no idea how to wrap this one-trick train wreck up and so threw gobbledygook at the screen and hoped for the best. JAZZ HANDS!
There's no progress or pursuit or deeper story or arc or explanation or anything. We just have this prefab shape-shifter consuming people with a sort of bulleted list of attributes that are involved in the process. And then a chrysalis and the end. It's not a story, it's just a vignette with a collection of attributes that we look at for a time and then it stops. It would've been far better as a 30 minute TWILIGHT ZONE episode where at least such non-storytelling is considered pro forma.
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