Hover

Hover may sometimes be unbelievably generic, but Osterman, adapting Coleman’s clever scenario, nails a universal power dynamic.

All of these nuances, as well as whatever satirical social commentary the movie wanted to make, are lost in the climax, a press conference staged with a threadbare quality that’s sadly typical of too much original Syfy fare.

Hover is reasonably resourceful for its first hour, during which it appears to have turned budget restrictions into an asset, keeping the focus on ideas instead of effects. The last act, though, is a total whiff — too rushed, too riddled with plot holes and too incongruously hopeful to take seriously.

By the time the film reaches a third act low on logic and heavy on exploding heads, it's clear that "Hover" never had the right parts to take flight.