There are movies that show up, make a splash, and then vanish like they were never really there. Chronicle is one of those. In the middle of the superhero movie overload that took over the last decade, very few were as surprisingly effective as this one. Released in 2012, it had everything going for it to kick off a new kind of superhero story: it was original, bold, emotionally intense, and had a kind of freshness that was rare at a time when these stories were starting to fall into safe, predictable patterns. But instead of turning into the first chapter of something bigger, it ended up as a footnote – and maybe one of the industry’s biggest missed opportunities.

The story in Chronicle is pretty straightforward: teens Andrew (Dane DeHaan), Matt (Alex Russell), and Steve (Michael B. Jordan) gain telekinetic powers after discovering a strange energy source in a cave. From there, the movie plays with the classic Spider-Man mantra – “With great power comes great responsibility” – except here, that last part never really kicks in. The focus is on how these powers affect regular kids who already carry trauma, dysfunctional home lives, and emotional instability. Instead of fighting crime or saving the world, they clash with each other, with their own egos, and with their growing sense of isolation. Andrew, for example, slowly turns into the antagonist simply because he’s been pushed too far for too long. And the film’s found-footage style visuals make it feel like you’re watching his downfall in real time.

It’s hard not to appreciate what Chronicle pulls off. At a time when superhero movies were still largely focused on clean-cut ideals and larger-than-life heroes, this one suggested that powers could act as an extension of someone’s inner turmoil – not just a shiny symbol of good. It was a small movie, but with a big vision – and audiences responded. With a modest $12 million budget, it pulled in over $126 million at the box office. Critics and viewers embraced it. It had “franchise potential” written all over it, especially in the early 2010s, when sagas like The Hunger Games and Maze Runner were exploding and even the DC Extended Universe and the Marvel Cinematic Universe were still finding their footing. It was the perfect moment. And still, nothing happened.

A sequel was floated, considered, even drafted – and eventually shelved. Max Landis, who wrote the original, came up with a darker, more ambitious sequel featuring a female lead. But the studio didn’t bite. They reportedly wanted something that felt more like a repeat of the first film. Landis walked away, and director Josh Trank wasn’t interested in returning either. He later admitted that he actively sabotaged development on the sequel since he didn’t want something that felt personal to him turned into just another studio product. And then the setbacks started piling up: accusations against Landis, Trank’s own career stumbles, and a shifting industry landscape. Slowly, Chronicle faded from priority.

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But what really stings is that Chronicle could have become something so much bigger. And not “bigger” in the blockbuster, cinematic universe kind of way – but bigger in terms of creative risk and thematic depth. It proved there’s a real appetite for superhero stories that are smaller, darker, and more personal. The idea of a superhero as someone emotionally unstable, someone who could destroy everything because they never learned how to process their own anger, still feels incredibly relevant (even timeless). The Boys is probably the closest recent example. Besides, the concept would’ve felt even more relevant in a sequel set in a world shaped by social media, fake news, and digital chaos.

In 2021, there were reports of a sequel in development with a new female cast. But since then? Total silence. And it’s not all that surprising. With the genre starting to wear thin (even if some people don’t believe it), anything that doesn’t come with a familiar face or massive spectacle tends to get brushed aside. Even when what it’s offering is exactly the kind of shake-up audiences claim they want.

In the end, maybe Chronicle was too smart (or too honest) to survive. It was a movie that says what it wants to say in 83 minutes and exits before it can be reshaped into something more conventional. It had everything it needed to kick off a franchise – but not the kind bloated with fan service or rigid studio timelines. It was the kind of story that could’ve gone to bold, uncomfortable places. But it showed up early, and Hollywood did what it usually does with things it doesn’t quite know how to handle: it ignored it. Not because it lacked fans, ideas, or impact, but because Chronicle couldn’t be boxed up and sold like just another piece of the superhero machine.

That’s a shame – a film that should’ve opened the door for something new. Who knows what the genre might look like now if it had gone further?

Chronicle is available to stream on Max.