Powder (1995) ★☆☆☆☆
In the realm of 90s cinema, where every misfit was either endearing or extraterrestrial, “Powder” attempts to blend both, serving us an albino prodigy with a penchant for electromagnetism and existential musings. It’s as if the film aspires to be a profound commentary on human nature but trips over its own ethereal aspirations.
Jeremy “Powder” Reed (Sean Patrick Flanery) is an albino teenager with a genius-level intellect and a peculiar affinity for electricity. Discovered living in his grandparents’ basement after their demise, he’s thrust into a world that is predictably unkind to those who are different. Enrolled in a local high school, Powder’s unique abilities—ranging from telepathy to electromagnetic manipulation—both intrigue and alienate those around him.
The film ambitiously tackles themes of isolation, fear of the unknown, and the human capacity for cruelty and compassion. Powder’s otherworldly abilities serve as a metaphor for the misunderstood outsider, a trope as old as cinema itself. However, the execution feels heavy-handed, with the narrative often veering into melodrama rather than offering genuine insight.
Victor Salva’s direction oscillates between moments of visual poignancy and overt sentimentality. The film’s aesthetic, drenched in soft lighting and ethereal imagery, strives to evoke a sense of wonder but occasionally borders on the saccharine. The use of special effects, particularly during Powder’s electrical episodes, feels dated, reminiscent of a time when CGI was finding its footing.
Sean Patrick Flanery delivers a sincere performance as Powder, embodying the character’s innocence and inner turmoil. Jeff Goldblum, as the inquisitive physics teacher, brings his signature quirky charm, though one can’t help but feel he’s channeling a less frenetic version of his “Jurassic Park” persona. Mary Steenburgen’s role as the empathetic child services psychologist is serviceable but lacks depth, a fault more of the script than her capabilities.
The film’s pacing is uneven, with a first act that meanders through exposition and a climax that feels both rushed and unearned. Subplots are introduced with potential but are swiftly abandoned, leaving viewers with a sense of narrative whiplash. The emotional beats, though frequent, often miss their mark due to a lack of subtlety.
Watching “Powder” is akin to attending a magic show where the magician earnestly explains each trick beforehand—while the intent is to inspire awe, the result is a dampening of the very wonder it seeks to evoke. The film’s message about embracing differences is laudable but is delivered with the finesse of a sledgehammer, leaving little room for personal interpretation or genuine emotional resonance.
“Powder” will appeal to those with a penchant for sentimental science fiction dramas that wear their hearts not just on their sleeves but on every available surface. However, viewers seeking nuanced storytelling and subtle character development might find themselves yearning for a less contrived exploration of its themes. In the end, “Powder” is a film that, much like its protagonist, shines brightly but struggles to find where it truly belongs.
