This Pyro starts with Charlie at school, not on the run like in the original. Of course, this will lead to a brutal show of force. After a few close calls, Charlie sort of appears like a phoenix after an incident with a bouncer that turns her emotions into a blazing category. The principal and teacher speculate that the fireball that came out of the toilet stall was an explosive device, but mom and dad disagree on what to do next. You see, they have powers too, products of experiments from a program like MK Ultra run by something called The Shop. Andy’s dad (Zac Efron, and yes, I feel outdated too with Efron now believably playing the father) has an ability called Push, which is basically mind control. His daughter’s powers seem amplified and out of control. She even lashes out at her mother Vicki (Sydney Lemmon) with a telekinetic attack. Mom and Dad will have to do something drastic to protect Charlie and themselves.
Lurking in the shadows for years, The Shop is revealed when Captain Hollister (Gloria Reuben) calls in a bounty hunter who can handle the situation with Charlie «with care,» a sickly soul named John Rainbird (Michael Greyeyes) who brought wistfulness to the emo rock, of course. He quickly makes it to Charlie’s house, but the kid, of course, gets the reward for nearly killing his mother with ice cream. When Charlie and Dad get home, they discover how hot it really is and go on the run. Screams and explosions follow, as well as several attempts by her father to teach her to control her powers. Basically explosions that tactilely look just like a TikTok filter.
Blumhouse’s model is to keep budgets low, but he usually hires directors and producers who can hide corners by cutting corners using smart filmmaking choices. Not this time. «Pyro» just looks cheap– in most cases cheaper than the 1984 version – without any memorable crafting elements or solutions, except for the cool 80s soundtrack from John Carpenter, Cody Carpenter and Daniel Davis. The music deserves the film to be able to use it more effectively and with a tougher visual language. Everything here is close-up, boring lighting in flatly written dialogue scenes, and the action is even worse. It’s often hard to know what the hell is going on when things are about to get tense and director Keith Thomas does a poor job of geography (mainly because of the close-up, backwards frame structure that never puts two people in the frame in one frame). room).
Coincidentally, this week in some cities and on VOD another film about telekinetic children called «Innocents» was released, which Stephen King himself praised, probably remembering a little of the period when he too was fascinated by unpredictable little monsters. Instead, find a way to watch it.
Today in theaters and on VOD.