The writer also deserves credit for working around ’80s remnants, inventing a reason for the family not to have wi-fi in 2022. Hollister wearing hi-tech contact lenses as shields. Thankfully, there are other scenes where screenwriter Scott Teems (“Halloween Kills”) invents ways for foes to avoid Efron’s powers, be it Rainbird hiding his eyes behind a hanging kitchen lamp or Capt. It’s a nifty fake-out moment in the scene, but you’ll wonder why Efron didn’t just kill him on the spot. There’s also the familiar problem where characters use their powers to get out of danger early on, then conveniently don’t use them later: A flashback shows Efron using The Push to compel two agents to kill themselves, but when Rainbird threatens him later at a farm, Efron instead creates an elaborate mirage. It makes sense that Charlie would inherit her parents’ superpowers (her father’s Push and her mother’s telekinesis), but why does she also share Rainbird’s telepathy? Add her own unique pyrokenisis and it becomes hard to keep track of who’s allowed to use which power when.
Sadly, it starts to go downhill, as the “rules of magic” become unclear. As pupils dilate from Efron’s hypnotic abilities, you’ll wonder whether this could be the next great Blumhouse remake after Leigh Whannell’s “The Invisible Man” (2020).
Both parents are set up in a killer opening credits sequence in a top-secret government lab.ĭirector Keith Thomas shows early promise with a brilliant “cold open” of a baby in a crib, followed by a tracking shot around the kitchen corner to show Charlie’s photo next to a fire extinguisher. As his wife, Lemmon has powers of telekinesis - the ability to move objects with her mind. It’s cool to see Efron acting outside the comedic-hunk role, bleeding from his eyeballs with The Push, an ability to compel strangers to do things by staring into their eyes.
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