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Consider a new take on a revenge thriller. This time, it stars the knockout reality star Scarlett Johansson, who is then abducted by a group of filthy and troublesome Korean thugs while in Taiwan, physically and emotionally abused, before finally getting her chance to repay them. You could also cast a major influencer who’s a world class kick boxer, and can swiftly battle a dozen thugs single handedly and decimate them. To add a little more flavor to the plot, let us add some of that apocalyptic sci fi twist where the plot slowly unveils how the lady possesses superpowers, as the plot progresses. The editing can also be adapted, such as adding mid-night movie elements, cut sequences of prey or predators forcefully being woven into the visuals, ideas by how time is perceived alongside with electric blur effects and mocking specters of objects materializing from nothing, all this blending in with bizarre monologues on cognitive efficiency and philosophic interpretations of time.
An American woman is the focal plot character of ‘Lucy’, who, while being abducted, enters the world of drugs and becomes a mule to bear a magic pressed hormone. This is where she manages to sip on it however, she ends up able to get rid of her physical, as well as cognitive and limited perception.
I can think of five or six other films that in one way or another are also reminiscent of “Lucy”. Some parts are likely to recall the first installment of The Matrix as well as the climactic sequences of Akira while the last ten minutes resemble the Best Of compilation of science fiction movies that deal with ‘getting high’,. And Lucy is filled with individual situations of filmmaking that you have seen before, From any measure you care to employ, there will be hardly a single idea, scene or element in the picture that is not a cliche.
Yet the whole package seems rather novel. The moment we see Johansson’s titular character being molested in a way that bursts the drugs in her stomach and sets them loose in her bloodstream, which any self respectable American would shudder at, the movie without doubt satisfies, although not astonishing.
The arrogant drug dealer played by Choi Min-Sik and deep voiced scientist Morgan Freeman are types rather than characters, along with Amr Waked who portrays the cop Lucy had assisted. As a short and obnoxious blond, Lucy is everything one shy away from, until she has to narc once again. Due to her dreading personality, it is easy to understand why the other archetypes are types rather than characters. What’s more, just like many others Lucy’s personality can be assumed to be thought out from the beginning a 1950’s science fiction monster who is insatiable.
Lucy is slightly more than just a type; she is a representative of humanity in its un-mutated and blank state, not even super. Johansson’s mid-career journey from a considerably husky-voiced ingenue actress to a very physical (and ever so male centered) matinee idol is quite the turn in the American film’s history. These high expectations, along with her body, voice and eyes are what makes “Lucy” bearable. This is perhaps because we realize that she does gel her three performances in this movie, “Her” and “Under the skin” into one, all performed by her. The film is ruined by Besson’s script; the man had an astonishing chance to depict the rest of the story, a thrilling tale that was only slightly complicated yet largely heartrending.
“Lucy” opens with Lucy, the ape-woman, in a cave, only further triggering the evolution vs revolution discussion and eventually this floods into the comparison of her transition being a narcotic. Going around in sorts the movie depicts these two ideas ‘this is the species where revolution happens after evolution’ and ‘this is how evolution looks’. The most heart-wrenching and tortuous scene has to be the one with the Taiwanese drug traffickers as Lucy finds herself in a helpless and arrested position. And now that I think of it, the scene where Lucy dials her mother close to the end of the movie thinking her life was about to be turned around is not only shot with close ups but strikes the American way while also having emotional undertones in the dialogues. Ms. Hawking With great hair said:“I remember the taste of your milk in my mouth… I want to thank you for a thousand kisses that I can feel around my face.” The drama of the fact being engaged and it being one occasion where mobile addiction may be promoted is.
The point being the most astonishing without a doubt here is the fact that in the quest of creating a normal and regularly behaving character who could reside within all deep copies of human emotions would lead to crafting somebody who fell short of creating such appealing emotions.
Honestly I would have been content with just a few more than the two lines Besson chooses to provide: ‘Oh my god these guys want to kill me’ and ‘I am god, watch me kill these guys.’ Lucy’s transformation is almost instant as soon as the hormones enter her bloodstream. The heroine begins to move her head to one side of her chest in a lopsided manner to stare at a man that seems to be big and strong – as if the man is a worm she is about to eat. She is the Terminator in female form. Terminator is indeed a fascinating monster, however it is due to the fact that this monster features in several films by that name that she is considered a secondary character.
As the same with many films directed by Besson The Professional, The Fifth Element, The Messenger and other similar high-octane shoot-’em ups Lucy is incredibly exciting at the start, but then it becomes less exciting as time goes on. It always has great potential but fails to fulfill it. It relies too heavily on gunfight scenes too frequently, especially at the times we’re finally ready to explore the concepts that have been presented throughout the film for instance, the falseness of the concept of originality; time as the only true quantity and the species which is more occupied with possession than existence.
However, “Lucy” is an enjoyable and pleasurable movie. It’s playful, humorous and fast-paced even though it’s brutal and violent, which is quite a lot. The total length is slightly over 90 minutes, and while it’s just a bit too slow for some people, it helps that every single second is perfectly timed, hence why it’s over somehow. It is confident to the core but still maintains an air of mischief. The tone of the film is somewhat serious but not to the point one wouldn’t enjoy Lucy casually walking into a gunfight in nosebleed stilettos, controlling her enemies like a child toying with marionettes. The film is highly energetic. It is tremendous.
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