Power Rangers does exactly what it’s intended to do, take a long-running, multi-generational lo-fi kids TV show and splash it onto the big screen with a new cast, broader story, and far bigger budget (reported at $100+ million, and with no big-salaried stars). For its target audience, Power Rangers delivers in spades, and as a stand-alone film for the newcomer, it actually manages to engage for the most part.
The majority of the running time is spent setting up the premise and building the mythology and simultaneously strengthening the characters and their relationships. The heroes are five young misfits, dealing with teen issues like bullying, being true to yourself and to others, controlling your emotions, even their sexuality as has been famously reported; quite clunkily handled but still admirable for a studio (Lionsgate) superhero picture.
Refreshing in its diverse casting, unafraid to give girls the most heroic moments, and with a villain for the ages played deliciously by a barely recognisable Elizabeth Banks, if nothing else, Power Rangers is clever in its construction.
The style of the film is set up meticulously in the early scenes by director Dean Israelite (Project Almanac), particularly a spectacular opening car chase. The score by Brian Tyler is a highlight, especially his use of the now-popular John Carpenter-esque synth. Unfortunately, the final scenes smell of budgetary restraints or a rushed completion date, with the showdown battle confusing to follow; speaking of budget, whatever a certain donut company paid to be a part of the film, they got a bargain! These shortcomings will certainly not put off the film’s target audience who are treated with Easter eggs aplenty and a new generation of superheroes to inspire them.