In many English classes, teachers will sometimes ask students to spend short amounts of time writing whatever comes to mind, whether it be masterful or nonsensical. This method is called “free-writing.”
Luc Besson—director and writer of the film “Lucy”—seems to be familiar with the free-writing technique, as very little of the script or plot of “Lucy” is coherent, despite being one of the most entertaining films of 2014.
“Lucy” centers on the myth that humans use just 10 percent of their brains.
The title character, Lucy (Scarlett Johansson), receives a drug given to her by a Taiwanese mob which, upon being released into her blood, causes her neurons to fire at a level far above that of any human or animal. Able to utilize 100 percent of her brain’s capacity, Lucy transforms into a ruthless warrior intent on revenge.
As accredited scientists have long dispelled the “10 percent” theory, the film maintains little believability from the beginning. Additionally, there are several plot points that are almost too bizarre to give much legitimate attention. For example, the final battle of the film is centered around a bazooka.
However, what is most interesting about “Lucy” is Besson’s struggle to figure out what kind of film he was trying to create.
“Lucy” is equal parts “Under the Skin” for its Johansson-tinged sensuality, “The Tree of Life” for its broad attempt to show human evolution through time and space, “Chungking Express” for its international romance and “Oldboy” for its unapologetic shots of violence. But it can never decide which one of those it is trying to emulate the most.
Besson and Johansson collaborate to turn in a performance in which Johansson/Lucy is effortlessly likable as the misplaced and somewhat unwilling superheroine of the film.
Besson is obsessed with presenting Johansson in a way that emphasizes her natural beauty, from the clothing choices to numerous close-up shots of her staring blankly into the distance.
While this is welcome for any Johansson fan, Besson does a poor job of sharing the camera time with Min-sik Choi (“Oldboy”) and Amr Waked (“Salmon Fishing in the Yemen”), who each give a solid performance.
From an entertainment standpoint alone, it is one of the most amusing and diverting films that have made it to American theaters this year.
“Lucy” is able to look inward on itself and display the silliness present at the center of the film, leading to scenes like the aforementioned bazooka battle and a bizarre super cut of animals—and humans—reproducing.
Alas, Besson continues to chase the idea of making a great film by providing the audience with absorbing visuals and little else. To be fair, however, “Lucy” is his highest-rated film by Metacritic since 1994’s “Leon: The Professional” which received 64 out of 100 points.
However, a complete endorsement cannot be given to a film that contains little emotional depth. Johansson has already been in two superior films in 2014 (“Under the Skin” and “Chef”)—spend an afternoon watching one of those instead.
