Lucy Movie Review
Lucy is a concept film about what would happen if you started using 100% of your brain at the same time that is best enjoyed when you use less than 5% of your brain. Also an action movie that has more ambitions than Jack Nicholas at a Playboy party, Lucy is mildly entertaining until it goes off the deep end and never even attempts to look back.
Scarlett Johansson stars as the title character, who is forced to be a drug mule for a blue substance that has nothing to do with the meth from “Breaking Bad.” Unfortunately. The blue shit leaks inside her and begins to give her all kinds of super powers, like being able to read people's minds, defy physics and even transcend time.
Written and directed by Luc Besson, that guy who has made several classics throughout his career but creates drivel the rest of the time, Lucy begins with a shot of a primitive “human” and has more than a few moments to indicate that this movie is meant to be deep, intelligent shit. Lucy is an action movie, but it's also a sci-fi exploration of what happens when the human mind transcends the human body.
The melding of the two just doesn't work very well.
As a mindless action movie, Lucy is good enough. There are some decent action sequences, though the fact that the title character is so far superior to everyone else makes them all but devoid of real suspense. But at only 89 minutes, the movie is fast paced and entertaining.
It's when Lucy shifts gears and tries to be something smarter than what it is that it gets into trouble. The entire third act basically has Johansson becoming something other than human, which is mildly interesting from a science fiction aspect but not nearly as thought provoking as Besson intended. The climax is really quite shrugworthy, and actually reminded me a lot of the Johnny Depp flop Transcendence, which, while as much of a misfire as it was, at least tried to be intelligent.
Take Lucy for what it is: a short, fast-paced action movie. Expect it to be anything more and you'll be disappointed.
Review by Erik Samdahl unless otherwise indicated.