More "All-Star Batman" than "The Dark Knight Returns."
As a lifelong fan of tokusatsu, it warms my heart to see “Power Rangers” be at the center of attention of popular discussion. As a fan of sci-fi, it also pleases me to see indie filmmakers with a passion for genre storytelling getting just praise for their skills demonstrated in well made products.
As a “Power Rangers” fan however, I only wish that my love of the above translated to an enjoyment of “Power/Rangers,” Joseph Kahn’s gritty and visually impressive but ultimately out of place take on the franchise’s publicly iconic but sillier incarnation.
As a “Power Rangers” fan however, I only wish that my love of the above translated to an enjoyment of “Power/Rangers,” Joseph Kahn’s gritty and visually impressive but ultimately out of place take on the franchise’s publicly iconic but sillier incarnation.
James Van Der Beek and Katee Sackhoff star as Rocky and Kimberley respectively, as the former interrogates the latter regarding the whereabouts of famous Mighty Morphin’ Green Ranger Tommy. What unfolds is a dark potential deconstruction of the franchise’s 90s silliness as the discussion goes through the fates of all of the other rangers.
Giving all credit where it is due, Kahn’s directorial chops are rock solid. Ignoring its source material, the top notch special effects are blended well with the strong acting and editing of the short film and would be an excellent addition to anybody’s resume. As an independently made science fiction short film alone, it’s pretty damn impressive. As a “Power Rangers” story however, it’s a train wreck.
While the production values are highly impressive for a piece of indie work, the film is fundamentally at odds with its subject matter.
One of the more unique aspects of tokusatsu in the vein of “Power Rangers” and, by extension, “Super Sentai” and “Kamen Rider,” is its use of sheer imagination and complexity of storytelling as a means of compensating for a low budget and less discerning target demographic of children. There is a place within this style of storytelling for maturity but in keeping the audience in mind while working with a limited pool of resources, the storytelling of these franchise’s, even at their darkest, retain a level of unique charm setting them apart from explicitly mature content of similar ilk. This is the film’s greatest weakness.
One of the more unique aspects of tokusatsu in the vein of “Power Rangers” and, by extension, “Super Sentai” and “Kamen Rider,” is its use of sheer imagination and complexity of storytelling as a means of compensating for a low budget and less discerning target demographic of children. There is a place within this style of storytelling for maturity but in keeping the audience in mind while working with a limited pool of resources, the storytelling of these franchise’s, even at their darkest, retain a level of unique charm setting them apart from explicitly mature content of similar ilk. This is the film’s greatest weakness.
“Power/Rangers” is an impressively produced and well directed production but in failing to evoke what makes “Power Rangers” or tokusatsu of similar build so special, the story within becomes completely generic with a loose “Power Rangers” paint job.
It would be different if the re-envision of the subject worked in favor of the franchise or film itself but between the consistently dour tone of the entire production, the over the top presentation of rangers meeting their end in highly disturbing fashions including somewhat graphic gunning down and implications of trauma driven suicide, and the use of names, visual concepts and elements of the show’s campiest era with no hint of irony whatsoever, connecting the film with the show that it’s based on becomes more hilarious than dramatic. What scares me even more is that the passion that clearly went into this project means that it will probably still be better than the film that Lion’s Gate intends to release should it come to fruition.
I applaud Kahn’s drive and efforts to do this film. He had a unique vision for an iconic 90s property, stuck to his guns and for all intents and purposes, succeeded in bringing it to life the best way it possibly could have been done. However, it also stands strong as proof that gritty and mature overhauls do not work well for everything. While I stand strongly against the censorship of nonprofit fan materials, the exposure of an explicitly adult take on a children’s franchise with a well documented international history of controversy regarding violence in media aimed at kids doesn't quite reflect well on the brand and I can’t say that I don’t understand Saban’s desire to bury the project, regardless of my personal feelings on the litigation of free expression.
Although I can’t help but admire the care and quality of the film’s craft, in addition to wishing Kahn well in his future endeavors, I’d also be lying if I said that I actually enjoyed watching “Power/Rangers.” Adult takes on children’s franchises are one thing but this film crosses the line into unintentional parody.
As far as a cinematic vision of “Power Rangers” go, you’d be better off editing together the last 35 minutes of “The Avengers” with the last 40 minutes of “Pacific Rim.” It’d look just as good, have greater effect and be more fun to watch.
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