Synopsis: A woman, accidentally caught in a dark deal, turns the tables on her captors and transforms into a merciless warrior evolved beyond human logic.
Stars: Scarlett Johansson, Morgan Freeman, Min-Sik Choi, Amr Waked
Director: Luc Besson
Running Length: 90 minutes
TMMM Score: (6/10)
Review: Viewing Luc Besson’s Lucy I found myself asking the age old question many film critics face: is it worse for a movie to be merely bad or simply boring? I’m of the mindset that I’d prefer to sit through what would be considered a bad movie over a film that can’t keep my interest for more than a few minutes at a time. Like the shiny bit of foil that a trapped raccoon would rather grasp in its claws than release and be set free, Lucy is a 90 minute exercise in European bonkers cinema that’s as nutso as the day is long but fires on all cylinders.
The second film of 2014 that affords star Scarlett Johansson (Under the Skin) the opportunity to capitalize on her ability to make dazed cluelessness look arty, Lucy is first and foremost a nice return to form for writer/director Besson. Known mostly for his string of flashy visual feasts in the 90s (La Femme Nikita, Léon: The Professional, & The Fifth Element) before turning his attention to less bombastic directorial endeavors, Besson has been dipping his Gallic toes into the artpop cinematic waters by writing/producing a string of surprise action hits (The Transporter and Taken series of films) during the last decade. Though 2013’s The Family fizzled, it had numerous visual hints that Besson was reclaiming his style.
An action film with such a short run time has to really blast out of the gate and Lucy surely does that. Opening in Taiwan as dopey Lucy’s (Johansson) bad choice in men gets her handcuffed to a briefcase full of a powerful synthetic drug, it isn’t long before she’s an unwitting drug mule for a freaky gangster (the dependably psychotic Choi Min-Sik, I Saw the Devil, Oldboy). When the drug is accidentally released into her system, its mind-altering effects take over, allowing Lucy to tap into the full potential of her brain capacity.
Besson’s everything-but-the-kitchen-sink script keeps things moving so fast that audiences don’t have time to sort out the logic from the looney. Intercutting the film with a plethora of overwhelming visuals signifying the amount of information we’re presented with daily, Besson keeps things deliberately off-kilter as Lucy hops countries, teaming up with the French police (Amr Waked) and a noted scientist (Morgan Freeman, Now You See Me, more invested here than he has been in his last five films) to make good use out of her knowledge while staying several steps ahead of the gangster and his henchmen.
As it moves toward a trippy ending with the focus of a laser beam, Lucy’s journey is persistent in its engagement. My overall recommendation of the movie comes with the caveat that one critic’s engagement is another’s piffle of an eye-rolling action adventure. Held up against some of the dreck released in recent months that takes itself too seriously, Lucy is overall worth the headaches it may cause.