Six stars is rare.
Categorically, it’s ‘just barely worthwhile’; a timid thumbs-up.
Anything less I can’t recommend.
This particular rating syncs up with the Rotten Tomatoes score at 60%. Which is, coincidentally, the lowest possible for the ‘certifiably fresh’ stamp.
So the question becomes: What’s the value of a review teetering on indifference? Let me explain.
The main problem involves the trailer. Almost all of the good moments are spoiled.
It’s been mentioned before, but I’m sick and tired of seeing previews that ruin the movie. This day marks the official beginning to a lifelong campaign against misleading trailers.
If you saw the preview and hopes are high, don’t catch this one in the theater. Give it a few months or a couple years before tackling Lucy. Try to let your memory of the footage fade before renting it.
After all, it’s only ninety minutes. You’re not losing much; even if you hate it.
If you’re planning on a future rental or catching it on the big screen anyway, you may wish to stop reading now. There are potential spoilers below.
The trailer isn’t the only problem.
An expectation is The Bourne Limitless with a female protagonist. The story doesn’t allow Scarlett Johansson to develop a particularly memorable character. Her acting is strong as always, but it doesn’t fit the tone of such weak storytelling.
The premise is similar to the Bourne films in terms of being an international action-thriller. A similar plot device to Lucy’s CP4 is utilized in 2011’s Limitless. The main character, played by Bradley Cooper, takes a drug that allows him to unlock a higher percentage of brain capacity.
But the viewer never feels ‘swept up’ like one associates with watching those comparable works.
Unfortunately, Lucy attempts to accomplish similar goals, but ends up falling short.
For example, all of the combat is spoiled in the trailer. There are no elaborate fight sequences. There’s a solid car chase, in which Lucy drives against traffic. As effectively shot, choreographed and edited as it is, it’s still illogical.
The editing is disjointed and the story is riddled with plot holes. Lucy leans further toward fantasy, rather than science fiction.
Style abounds throughout, but not in a positive way. Much like the ticking digital clock in the TV show 24, title cards with percentages are utilized as dramatic transitions. All in all, they add nothing to the story and serve as only a further distraction.
Quite a bit of wildlife footage is interspersed, presumably to build tension and create a more elaborate experience. But it just comes off as cheesy.
I truly wonder why such a prolific writer/director as Luc Besson would include the cheetah chasing down the gazelle as Lucy’s captured. This is a pinnacle of heavy-handed metaphor. The enormity of the cliché seems almost purposeful.
The montages of various wild animals engaging in intercourse and giving birth are hollow moments devoid of value.
Besson’s use of time lapse and montage is clunky and distracting; not to mention it feels cheap. Montages, time lapses and original animated interstitials are in vogue. Such films as Noah and 22 Jump Street make productive use of them.
Lucy does not.
The animation of the CP4 molecules spreading throughout her nervous system is momentarily interesting, but eventually drags on. The footage is later revisited, much to the viewer’s misfortune.
The narrative voice is unfocused. It opens with Johansson speaking her thoughts through voiceover. They’re not real-time thoughts, more like generalized notions about the beginning of mankind. This transitions sharply into Lucy snapping out of a daydream.
This disparity is heightened by the introduction of Morgan Freeman’s voiceover regarding the evolution of the brain and human potential. Later it transitions back to Lucy’s real-time thoughts, so the nature of the narrative voice remains unclear.
During the film’s introduction, the missing link is featured on-screen. The part’s played by an actor in discomforting make-up and is featured several times throughout the movie.
Its too bad Besson didn’t speak to Andy Serkis, who crafted a simian army using stop motion technology for Dawn of the Planet of the Apes. Serkis could probably create one missing link without removing his bathrobe.
Besson is hit-or-miss. His early career hits include Leon: The Professional, The Transporter and The Fifth Element, and more recently Taken. These are all great movies, each in their own way.
There’s a through line to his pictures, though. They aggressively toe the boundary between fantasy and reality, asking a lot from the viewer in order to suspend disbelief.
Take Leon: The Professional for example. Gary Oldman plays Stansfield one of the greatest villains in cinematic history. His drug of choice is less potent than CP4, but it’s still a ‘fantasy intoxicant.’
The point being: Lucy would be a lot easier to accept if I was still a teenager.
All things considered, it’s a good movie that isn’t great.
It’s ironic Lucy went out the same way as ‘Samantha’ (from Her).
Hopefully they’ve successfully avoided Skynet (from The Terminator) now governed by Arnim Zola (from Captain America: The Winter Soldier) and joined the torch-bearing digital people (from Tron: Legacy) in the cyberspace community.
Unfortunately I’m one of the few people who haven’t seen Transcendence, so I can’t include Johnny Depp’s character in that reference.