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It is not only an ideal film for rambunctious and undemanding 12-year olds, but it also sees the world through their eyes. The Mighty Morphin Power Rangers reboot “Power Rangers” is not only an ideal film for rambunctious and undemanding 12-year olds, but it actually sees the world through their eyes.
The heroes are high school students, at least in theory. However, they are actually a Disney Channel-styled fantasy of the splendors that await children when they finally reach the age of majority and have the freedom to Do Whatever They Want. These heroes are misfits in every way. This group of teenagers gathers in detention at their high school, a situation that has the potential to transform them into “The Mighty Morphin Breakfast Club Rangers.” That’s exactly what you get: a mash-up of shenanigans, heartfelt conversations, and widescreen punch-outs in between monster battles.
This version of the Power Rangers includes Jason Scott (Dacre Montgomery), the future Red Ranger, who is a juvenile delinquent with an unmistakable noble streak; Kimberly Hart (Naomi Scott), the future Pink Ranger, who is a depressive who is in detention for texting an embarrassing private photo of a classmate; Billy Cranston (RJ Cyler), the future Blue Ranger, who has autism spectrum disorder; and Becky G as Trini, the
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It is Zordon (Bryan Cranston) who trains the teenagers, who is the sole survivor of a prehistoric battle that ended with a meteor wiping out all of the dinosaurs. To defend the Earth against his archenemy, Rita Repulsa (Elizabeth Banks), he wants them to kick and body slam the golems who are dear to Rita, and then join forces to defeat a massive golden warrior known as Goldar.
There’s a plot involving the Rangers attempting to protect a crystal that’s been hidden inside a Krispy Kreme donut shop, as well as a detailed mythology about the life force of planets, but the film doesn’t get too hung up on the details, which will please Rangers purists. According to Zordon, the most effective way to save humanity is to assassinate Rita. To emphasize this point, the film uses the phrase “kill Rita” so frequently and with such fervor that it becomes something of a running joke between the film and the viewing audience. We should go ahead and do the one thing that has been requested of us: kill Rita! Jason urges his colleagues to do better. “I intend to personally demolish Rita!” When the training isn’t going well, Zordon makes a proclamation.
The original show’s message of “stronger together” has been given a post-Obama makeover in this adaptation, which is sometimes convincing and other times awkwardly done. If you go out for popcorn in the scene where this is established, you might not notice the undertones of Sapphic menace in the scene where Rita bullies Trini in her bedroom. However, if you go out for popcorn in the scene where this is established, you might notice the undertones of Sapphic menace in the scene where Rita bullies Trini in her room. This reminds me of when Paramount congratulated itself on “Star Trek Beyond” for making Sulu gay when all it did was show audiences a two-second glimpse of an image showing that Sulu’s significant other was a man. (Thank you, by the way.)
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Billy, on the other hand, emerges as a genuinely memorable character, thanks in large part to Cyler’s heartfelt performance (which helps to dispel a lot of ambiguity about the character’s current state of health). And the screenplay elevates this upbeat kid to the status of the group’s heart and soul, as well as its comic relief at times, without depriving him of his dignity. Also doing well is Zack, who loudly advertises himself as “crazy,” but in private moments he cares for his sickly mother with the same grim matter-of-factness that the title character of “Logan” brought into Professor X’s room with him, along with meals and medications, to make him feel better. (Zack and his mother converse in Mandarin with English subtitles, which is a nice touch.)
In spite of the fact that they are celebrating the ridiculousness of everything else, writer John Gatins and director Dean Israelite make a point of treating the characters’ emotions with respect. Achieving the right tone in a film of this caliber is so critical that if you do it well, the audience will forgive any mistakes you make. A slew of flaws are evident, including haphazard plotting, connect-the-dot characterizations, and nervous, jittery, over-edited filmmaking that only comes together during a handful of taut action sequences (the best of which is an opening car chase shot in one take from inside a moving vehicle, a la “Let Me In” and “Children of Men”).
The film, on the other hand, will throw in moments of pathos or images of eerie beauty every time your eyes are about to roll back into your head due to the film’s sloppy direction and editing (everything involving gold or water is aces). Alternatively, it may devolve into three-hanky melodrama, inflicting distress or bodily harm on a character you’ve grown to like but who has been surprised to discover. The action is passable, and at times spectacular, near the end of the film, though there will undoubtedly be complaints that the film takes too long to get the teens into their armor, which is understandable. Additionally, it includes too many overly familiar action film beats (including a side-by-side power walk), but if it didn’t, many viewers would question why the filmmakers were scrimping on the material they paid to see. Despite its flaws, it is a worthwhile watch (the power walk is pretty great).
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The sincerity of the characters is what distinguishes the film, and it is also what consistently saves it, even when the direction is at its worst. “Power Rangers” is a show that truly believes that people are stronger when they work together than when they work alone, and it incorporates this belief into its action sequences. It also encourages its supporting players to let their hair down and enjoy themselves, and boy do they: The training robot voiced by Bill Hader is amusingly droll. ‘This is the pit,” he chirps as he points to a pit filled with dirt and rocks, and then adds, “It’s great, isn’t it?’ Sigourney Weaver’s demon-possessed Dana in the original “Ghostbusters” and Tim Curry’s Dr. Frank-N-Furter appear to have been inspirations for Banks’ slinky performance. Despite her high heels, she walks with a slightly wobbly confidence, as if she were a society lady who is far too old to be in such high heels. The film includes scenes where a character’s father drives his pickup truck into the middle of a superhero battle to make sure his son is okay, and another character exclaims “I love my mom!” with such glee that it echoes through the canyons of the setting sun.
Several people have expressed concern that “Power Rangers” is too crude in its humor, too precious in how it establishes its characters’ outsider status, and too obvious in its product placement (the words “Krispy Kreme” and “kill Rita” are spoken nearly as often as the words “kill Rita”). All three accusations are correct. However, I believe that the level of offense experienced by a viewer will be proportional to how thoughtful they expected a film like this to be. The Mighty Morphin Power Rangers are a brand owned by Saban Entertainment that was created to sell merchandise to children. As if it didn’t have much artistic integrity to begin with, the fact that this film actually does have some is incredible. With its moral code and suitability for children, this big-budget high-school fantasy is essentially an unauthorized “Transformers” film. This stands in stark contrast to the actual “Transformers” franchise, which has long been known for being snide, leering, and hateful. “Power Rangers” is a sincere and heartfelt show with a good heart. There should be more films like it, but they should be better made.
For more personality quizzes check this: The Emoji Movie Quiz.
