The Power of Few

The Power of Few

Again, Quentin Tarantino enjoys being referenced by many new stepping directors. The latest Pulp Fiction wannabe is a blood-soaked, time-twisting anthology, The Power of Few, written and directed by Leone Marucci.

This film is opening around the country this week on a limited basis, expanding the following week. In a general sense, however, it is still difficult to say that it “reinvents” the genre of ‘ghetto cinema’. It does benefit from solid acting and reasonably clever developments in storyline and emerges as a relatively amusing time wasting activity. While the near-term outlook on box-office performance is not good at all, it could provide some reasonably good returns for as a Netflix.

This narrative unfolds in New Orleans scenes and states five characters and their stories out of those five characters, they are introduced simultaneously as the story proceeds. For quite a fraction, it felt more of an impact than the rest of the story, where a teenage boy, Devin Gearhart, is portrayed trying to get medication for his little brother.

A delivery woman, Q’Orianka Kilcher, encounters a runaway Jesse Bradford, whom she taunts with chill and romance as he is on the run. A strange couple (Christian Slater and Nicky Whelan) who may be police officers are out hunting. In his own inimitable way, the dwarf Gregor (a rare role for Christopher Walken) has conversations with a panhandler. Finally, a young girl calling herself Few (Tione Johnson) wanders around, observing everyone else, including the young woman she appears to be helping.

While one scene is active, the background depicts the action of the other characters who belong to the other scene/s. Later the same set moves to another story, the preceding events are many times commemorated as an accidental background of this episode for the chronological chain. It is a method that Tarantino had best demonstrated legibly in Pulp Fiction, but it is rather losing its thrill.

The plot is limited because it relies heavily on the strength of individual stories, out of which most are rather weak and do not have the potential to make us completely engrossed. However, some performers manage to rescue parts. Bradford and Kilcher are so lovely and so full of life that there is a place for sympathy with their characters.

So Sater and Whelan have some spark, but their narrative is overly complicated to be interesting. Walken has one more of his stereotypically shocking parts with his signature crazy hair, and while this is a shame after A Late Quartet and Stand-Up Guys, Walken is always enjoyable.

Newcomer Johnson makes her character quite big by adding some depth/soul. Almost all of the narratives end in violent tsunami’s, but Johnson’s Few offers a sentiment to those she meets: “Purvey no more hurt”. And when she entices a few brutes to buy into her philosophy, then for each scenario that we have seen, there is a more optimistic conclusion that has been suggested. This technique has been employed in other films with varying degrees of effectiveness, but in this case it is quite effective.

On the other hand, as the explosions and shootouts are blow by blow in the picture, a few of the more laid back moments die on the screen. Some of Marucci’s New Orleans locations are not his best shots. This is a typically derivative film, but at least it picks up good models to plagiarize. The thrill is never smooth, yet the destination seems to be quite worthwhile.

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