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The uniqueness of “The Power of Few” stems from its derivation in a collaborative manner, with an online community participating in the casting, editing, and more. This may sound like a recipe for failure in art, like the saying “too many cooks spoil the broth,” However, this results to be some sort of an arbitrary hybrid part over-the-top and part exquisite-corpse-freak-like film. As a curiosity, it may find supporters down the line, but as an immediate commercial prospect, Leone Marucci’s feature debut (which started opening in U.S. markets on February 15) is bound to leave theaters quickly and be forgotten in the world of downloads.
Chaptered segments track the different characters paths that will eventually clash at an intersection in New Orleans, or not, due to the mediation of Few (Tione Johnson), a little girl. There’s a teenager (Devon Gearhart) who tries to obtain desperately the medicine a neglected baby brother needs, and a thrill-seeking scooter delivery girl (Q’orianka Kilcher) who saves a hapless dude (Jesse Bradford) right in the nick of time before he is hurt by some gangbangers (Anthony Anderson, Juvenile). Two secret agent types (Christian Slater, and Nicki Whelan) are also on the look for possible terrorists, as well as some comically rascally homeless guys walking the street, played by Christopher Walken and Jordan Prentice.
Oh, and also the Shroud of Turin has been stolen from the Vatican, which was announced through a cameo by Larry King. There might be an international plot to clone Jesus. This stuff is meant seriously, insofar as one can tell though that’s often hard to do in a movie that seems to oscillate between sentimental moralizing and cheap genre thrills, together with in-da-‘hood cliches and attempts at absurdist riffs, all done with energetic abandon but little intelligence. The style as well as the content are out of all bounds, and by intention, they do not intend to make a good film. Viewers have the choice to pick their own worst plot thread from several candidates but for mixing pretentiousness, senselessness and sheer obnoxiousness the Slater/Whelan strand is the one to beat.
Not surprisingly, the perfs are saying it most calmly. Walken, Kilcher and Whelan are particularly given enough rope for their own performances which they accept with uninteresting zeal. One appreciates the pro restraint of Prentice, miraculously preserving his dignity and straight face and the ditto comic chops of Anderson and Juvenile, who are most sadly for Johnson stuck with the scene where he is forced to deliver a ridiculously on-the-nose climactic speech about karma which I say would have been too much for more advanced thesps.
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