The Power of Few
In the early moments of Leone Marucci’s catastrophically obnoxious new offering, The Power of Few, it is tempting to contemplate not only the circumstances under which some members of the more notable cast were coerced to appear but also the quite critical questions of who and how financed the production in the first place. The film could be described as a New Orleans set Crash (2005) meeting something indefinably interconnected to the drek of Answers to Nothing (2011).
This unfortunate combination of exasperatingly naive attempts at orchestrating the circus of the elements of poor plotting and filming, was, hopefully, not see by their makers but only furthers the idea of what legacy they sow.
Created by writer and director Marucci with producer and star Q’orianka Kilcher, the film started off as an interactive experiment with its international audience, letting its online voters play on determining casting, costumes, locations, editing and gram, and story development so accurately portrays the outcomes of Communism in cinematography exactly that Kremina. “God save us from the innocent and the good,” was Graham Greene’s most appropriate assessment in this case.
The movie revolves around various events in New Orleans on one afternoon and how each of the events leads to one significant climactic moment involving a religious based crime. Coredy lives in decaying conditions with his fanatically drug addicted mom but knows he has to get medicine for his younger brother and heads out for a grocery store, The Space Bon instead, an internet café owned by a pregnant woman called Mala.
She has had problems with her husband Shane who wants to become an actor. Dom is escaping from a gang when he is saved by a woman named Alexa. Dom and Alexa fall in love while performing an important delivery. Probably the most interesting segment was that of the two homeless men pondering the very modern concept of Jesus with numerous exciting side thoughts.
As all of them are there for a war of bodies, chaos, and violence, everything takes a turn for the better when a young girl, Fueisha(Tione Johnson), also known as Few, at the last moment, appears and shifts their grim lives in a positive direction.
Filmmaking is rather an ambassadorship, while Marucci and co’s The Power of Few, which is ironically named, suffers from too many cooks both in production and on the script. But honestly, the film stands in as a case that perhaps it is better not to seek the advice of other people especially those who are not in the film making business. According to Kircher and Mariucci ‘We really wanted to include the global audience and give everybody who has talent the chance to be involved in a Hollywood movie”.
How on earth, can this be a process? Besides the subpar screenplay which is humorously generic, and has a host of characters who are poorly crafted and unnecessary, the dialogue is worst case scenario, and there are many to choose from, but Christian Slater yelling “until this goes Code Zero” at his psychotic excited partner, or Richardson trying to sound like he loves a role that is some mean combination of Little Shop of Horrors and Sling Blade, stand out too much.
Not only does it make heedless attempts to feed constant sequences we have been witness to over and over again but perhaps Marucci’s worst offence is the treatment of Walken who literally appears with a wig on that looks like a cross between Alanis Morissette and bum news reporters wailing on about being Clone Jesus. Oh, and most importantly, redemption is achieved through the so called “magical girl from the ghetto,” Few. And how ingenious to have Walken say, ‘listen to what people don’t say,’ as he speaks to his associate. A good suggestion given the fact that nothing very useful is said here.
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