Upgrade is a 2018 cyberpunk action film[5][6] written and directed by Leigh Whannell, and starring Logan Marshall-Green, Betty Gabriel, and Harrison Gilbertson.

Upgrade follows a technophobe who is implanted with a chip that allows him to control his body after a mugging left him paralyzed.

[4][9] In 2046, Grey Trace, an auto mechanic, lives with his wife Asha who works for Cobalt, one of the companies contributing to human-computer augmentations.

Grey asks Asha to help him return a refurbished car to his client Eron Keen, a renowned tech innovator.

While visiting his home, Eron reveals his latest creation, a chip called STEM that can manage a human’s motor functions.

Cortez later sees drone footage of Grey’s wheelchair approaching Serk’s house, but his paralysis negates him as a suspect.

STEM uses Grey to drive to Fisk, causing an automated car to malfunction and crash into Cortez, who is tailing them.

Grey's consciousness believes the idyllic dream state it has found, while STEM kills Cortez and leaves.

The chase scene taking place on the southern section of the Craigieburn bypass Hume Freeway (M31) goes the opposite direction to what would have been normal traffic flow to appear that it was filmed in a left hand drive country.

[10][11] Logan Marshall-Green based Grey's movement while under STEM's control on that of the character Zenyatta in the video game Overwatch.

[citation needed] Upgrade is set up for retail in two packages, Blu-ray with Digital HD[16] and DVD[17] on 28 August 2018.

In the United States, Upgrade was released on 1 June 2018, alongside Adrift and Action Point, and was projected to gross around $3 million from 1,457 theaters in its opening weekend.

The website's critical consensus reads, "Like its augmented protagonist, Upgrade's old-fashioned innards get a high-tech boost—one made even more powerful thanks to sharp humor and a solidly well-told story.

"[21] On Metacritic, the film has a weighted average score of 67 out of 100, based on 33 critics, indicating "generally favorable reviews".

"[24] In a less positive review, Charles Bramesco of The Guardian said, "While Whannell wrestles with warring desires to fret over the techno oblivion we're hurtling towards or have a laugh about it, that conflict manifests in a disappointing tonal clash that robs the film of the low-rent fun it could be having.