Chronicle (2012)

Harley gives the film an enthusiastic verdict, calling it an inventive, satisfying challenge to superhero conventions. He especially praises the energized found-footage approach and its thrilling climax.

Dinning finds the film fresh, exciting and memorable, calling it an essential leftfield experience. He especially praises its spectacular climax and the director’s astonishing set-pieces, while noting that the teenagers’ delayed temptation to abuse their powers strains credulity.

Bradshaw calls the film crackingly good and says it refreshes the lonely-superpowered-guy story. He particularly praises its confident pacing and the way the floating camera turns found-footage limitations into inventive out-of-body scenes.

Brody finds the film a nearly unmitigated delight, despite a slow start and its ominous turn. He praises its exhilarating airborne camerawork and its psychologically resonant portrayal of a frustrated intellectual’s growing violence.

Tobias finds the film a remarkably effective, grounded take on a dark superhero story. He praises how its found-footage approach makes supernatural events feel human, while noting the contrivances required to keep every moment on camera.

The review finds the film inventive and energetic, though ultimately more novelty than lasting achievement. It praises the smooth, headache-free camera work and the leads’ charisma, while criticizing the saccharine ending.

Ebiri finds Chronicle an effective, unusually grounded take on superpowers and adolescent temptation. He singles out its provincial focus and Andrew’s wish-fulfillment revenge as the film’s strongest elements.

Sharkey finds the film smart and fresher than its found-footage premise suggests, though it becomes rough and somewhat off the rails near the end. She especially praises the inventive framing and the lead actor’s energetic portrayal of teen repression and rage.

McCarthy finds the film clever and better than average, though its final stretch undermines its impact. He praises the seamless effects, especially the trio’s exuberant flight through the clouds.

Debruge finds the film a clever, plausible take on found footage and a chilling story about bullying. He praises its inventive visual approach, while noting that Andrew’s arc limits the other characters and the story’s scope.

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The printed three-star rating indicates a mixed verdict. The review questions the familiar found-footage setup while focusing on schoolkids in Seattle with superpowers.

The critic finds the film fun, though it falls short of comparable found-footage films and does not quite earn its franchise potential. They single out the shy, camera-obsessed boy’s early use of his powers as particularly effective.

Schenker finds the film a stale morality play that ultimately fails to deliver enough genre thrills. He praises the exhilarating flight and urban-destruction sequences, while criticizing the film’s overfamiliar ideas and its sympathetic framing of Andrew’s violence.

Lambie gives the film an enthusiastic endorsement, calling it a must-see and praising its intelligent, character-led storytelling. He especially singles out the inventive use of cameras as an integral part of the film’s storytelling.

The critic strongly recommends the film, praising its balance of character development and inventive superhero spectacle. They single out Michael B. Jordan’s charismatic performance and the affecting relationship between Steve and Andrew.

Graham finds the film an immensely enjoyable, engrossing take on familiar themes, praising its direction, script, and performances. He especially singles out Dane DeHaan’s nuanced portrayal of Andrew, while noting that the coda disappoints and women have marginal roles.

Fischer finds the film compelling and worth seeing, despite some doubts about the realism of its effects and the pace of one character’s downfall. He praises how the found-footage style creates expressive camera movement and sustains the story’s emotional highs and lows without a score.

The critic finds the film an engaging, distinctive debut whose unlikely mix of realism and superhero spectacle works. They especially praise Dane DeHaan’s convincing performance and the naturalistic acting that makes the fantastical story feel possible.

Houston finds the film uneven: its character-focused approach has promise, but clichés and an unconvincing transformation weaken it. She praises the cast, especially the trio’s enjoyable ensemble dynamic, while noting that the performances outshine the script.

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