Review: Not even Toni Colette can bring ‘The Power’ back on for an undercooked thriller

From Mar. 31, The Power will be unleashed on Prime Video, as creators Sarah Quintrell and Claire Wilson dive into the dramatic potential of Naomi Alderman’s bestselling book. Taking the reins of an intriguing premise, which combines elements of Josh Trank’s Chronicle – by way of Marvel’s X-Men – to offer a nightmare scenario with global repercussions. 

Headlined by Toni Colette (Hereditary) as Seattle mayor Margot Cleary-Lopez, The Power bounces around in its opening episode, introducing characters on a globe scale. Young women from all walks of life spanning the United Kingdom, Nigeria, and the United States making this feel like a truly multicultural experience.  

Whether that perspective comes from Allie (Halle Bush), who is fostered in America and escapes to avoid unwanted advances, or Roxy Monke (Ria Zmitro) who comes from a British background but is perpetually at odds with her diamond merchant father Bernie (Eddie Marsan). Not to mention Margot’s daughter Jos (Auli’i Cravalho), who develops the ability to generate electricity along with both Allie and Roxy at the same time. 

However, beyond all those introductions possibly the most important characters in this show are Tunde (Toheeb Jimoh) and Ndudi (Heather Agyepong), if only for the simple reason that they are responsible for first breaking this phenomenon on social media platforms, highlighting to nations around the world that women have essentially become weaponized.  

Much of the remaining drama which defines these opening three hours, comes about through a gradual reveal of what this power can do. Teenagers are isolated, news organizations jump to conclusions, and something close to segregation starts taking place. Other peripheral characters including Margot’s husband Rob (John Leguizamo) are introduced, while Josh Charles also puts in an appearance as Governor Daniel Dandon.  

Which on the face of it might sound like a dramatic slam dunk, that guarantees audiences will be wowed by this globetrotting thriller, but nothing could be further from the truth. As this premise, despite being intriguing in an X-Men sort of way, gets bogged down by fragmented storylines which ensure that The Power perpetually loses momentum.

As each of these characters learns more about this power they possess, the less absorbing it becomes. Nobody can be blamed for their performances, either, since each actor fully commits to creating something memorable. Where the problem lies, is in creating a threat strong enough to give this drama some real backbone.  

Suddenly, politics takes precedence over the lives of these four central characters, since as Jos, Roxy, Allie, and Ndudi are each facing their own obstacles – The Power increasingly lacks cohesion. The simple premise of women having an ability to produce their own electricity, irrespective of how many dramatic tangents that idea might take, ceases to remain interesting after that first hour.  

Had creators Quintrell and Wilson unpacked this with more gusto, made storytelling choices that were more dynamic, and ultimately tied things together without making this journey feel laborious – then The Power might have succeeded. Unfortunately, despite the logical progression of a wider world in relation to this phenomenon, interest will tail off unless there are some hardcore Colette fans in attendance.  

Elsewhere amongst the talented ensemble, standouts include Jimoh’s Tunde, who displays an inherent naturalism throughout the series, which dramatically elevates some crucial moments. Whereas the triple threat of Leguizamo, Colette, and Charles add an essential gravitas to proceedings as a whole. 

Another issue which continues to nag throughout The Power comes down to a lack of invention. There is no denying that the experiences these women suffer through are traumatic, but narrative cliché consistently diminishes dramatic impact. Putting it bluntly, these powers manifesting themselves in moments of great stress has been done before. Similar to the opening of Bryan Singer’s X-Men back in July 2000, which saw a young Eric Lensherr (Brett Morris) cripple the gates of a concentration camp, each girl undergoes extreme stress at critical moments.  

However, The Power seems intent on moving onto other things, rather than letting any emotions resonant. For that reason, audiences might feel a sense of indifference towards the events depicted, and those people involved, a fact which in itself is disappointing, considering the caliber of character actor on screen. 

What that means is simple – The Power falls short of expectations dramatically. Not for any lack of commitment by the cast, and neither for any shortage of real-world locations, which help to ground the events which unfold.  

Failure on this occasion feels more fundamental and comes down to originality. Combined with some sluggish pacing and frequently fragmented narrative choices, audiences will be hard pressed to make it beyond the third episode, which is ironic since that is when things start to get interesting.