Lucy

Wie kann ein Film, der den Zuschauer*innen solche Theorien vorstellt, ein ernstes Gesicht machen? Und was nahm Besson, als er das geschrieben hat? Meine Augen freuten sich über Scarlett, aber mein Kopf erlebte das Mittelalter. (27.10.2014)

FINALLY! Finally, Luc Besson made me happy and once again, according to his feminist philosophy, he prepared a film with a female protagonist whose perfection matches the others that Luc managed to include in his films during that time. The only problem Lucy has is the fact that she has supernatural abilities, so it’s hard to compare her with Joan of Arc, Nikita or Mathilda. She has a bit of all of these characters but she remains unique. So I can’t help but feel satisfied about the kind of movies Besson keeps making to this day. I find it funny how a lot of people on this site dislikes his leaps from action scenes to explanatory or completely unrelated ones. I, on the other hand, enjoyed this very much. Besson has always been crazy in a good way. (19.12.2014)

Hätten wir die 90er Jahre/Spräche Morgan Freeman sämtliche Monologe nachdem er Helium eingeatmet hätte, wo würde dies zu 100% klappen, aber so schätze ich es hauptsächlich als ein sehr amüsantes Beispiel vom Verlust der Selbstreflexion. Nicht jeder vermag das mit so viel Engagement und Dynamik wie Besson (die Verfolgungsjagd durch Paris!). Ich habe das Gefühl, dass irgendwie so die Filmversion des Allerwertesten aussehen würde, der dahinpinkelt. Leider / Glücklicherweise wirken die Bemühungen des Franzosen während einer Zeit, in welcher Blockbuster darum bemüht sind, herausfinden, 10% des Gehirns am besten zu beschäftigen sind als unkontrolliertes Anschwellen dieses Franzosen, doch anderswo mutet es als ziemlich bizarr. Übrigens ist Choi krank und Scarlett bemüht sich recht schön, selbst die blödesten Szenen so zu spielen, als ob man zugedröhnt die eigene Mutter anrufen würde. Ich bin überhaupt nicht sauer wegen der (po)Lucy(ion), ab und zu musst man einfach die Synapsen mit fremdem Wahnsinn ausspülen ... [50-70%] (29.07.2014)

Lucy is a magnificent roller-coaster ride through the mind of a mad fantasist in which anything is possible. Besson has always been a wonderful storyteller, but it is time to realise that seriousness, rationality and reality are binding for any bard. For Besson, the turning point came with The Fifth Element, where he cast off the shackles and turned toward stories to which boundaries do not apply. Even though he has seemingly come back down to Earth in the past twenty years, he has always adhered to that liberating realisation that as long as the result is coherent in its logic, it is not necessary to limit oneself with rationality. Projects such as Taken are not momentary awakenings from the fever dream, but merely proof that he is able to tell “believable” tales when he is so inclined. But for the most part, he simply doesn’t want to do that, and it’s up to every viewer whether or not they will accept the game of an “unreliable” narrator (in world cinema, Tsui Hark is the only one with whom we can compare Besson). To wonder over Lucy’s absurd sci-fi new-age premise is like watching a roller coaster instead of strapping yourself into a seat and enjoying the ride. The fact that Besson doesn’t set aside this phantasmagoria for even a moment, but instead presents his narrative with a straight face and takes it to its internally logical conclusion is not a sign of madness, but of storytelling brilliance. It is necessary to add that the storyteller’s straight face does not in any way mean that he is telling a serious story. On the contrary, Lucy stands right at the edge of absorbing entertainment and camp, but never slides into it, and therein lies its distinctiveness. Besson never peeked at viewers, but only gazed at them with open eyes, in which it was so easy and delightful to drown. In the context of his work, Lucy is something like The Fifth Element 2.0, though it differs from the first version by inverting the initial elements and adjusting the narrative devices. Instead of the fate of all life, what is at stake here is the existence of a single being, which, however, is the universe itself. Instead of Willis’s cynical hero, behind which stumbles the personification of good, here we have a formulaic cop in the position of an appendage of the universe. And whereas part of the fun of The Fifth Element was built on breaking up space by using editing to turn the monologues of distant characters into dialogues, Lucy entertains by putting the power over space, time, people and matter, which was previously possessed only by filmmakers, in the hands of its heroine, as well as by interconnecting the plot with external narrative elements and hypertextual references. (21.05.2015)

Blatant guilty pleasure! I think that Besson saw Space Odyssey and wanted to shoot something similar, but in his own way and on an earthly scale. The result is a total mishmash from hands of an over-keen geek mistaking this thing for that, who cares about reality... But the entertainment factor is on maximum and Morgan Freeman’s gibberish about the capacity of the brain blends together with neat action scenes where anything is possible (The Matrix gone crazy) and planets that explode. They’ve even got dinosaurs! Awful claptrap that I wouldn’t hesitate putting on again sometime. Scarlett looks great of course and manages the acting fairly well. New Age Fifth Element. (03.01.2015)

When you expect the female version of Taken and you get something between The Matrix, The Tree of Life, and Cloud Atlas, something is not right. The people behind this film let their imagination roam freely, the car scenes in Paris are VERY impressive, but that's where both the action and the overall script ends. The boldness is appreciated, and Scarlett Johansson tries her best, otherwise, it's a mess. (12.08.2014)

Der Anfang ohne Fähigkeiten war sehr unterhaltsam und auch spannend, der Teil nach ihrem Erwerb war weniger unterhaltsam, aber immer noch gut. Aber je näher das Ende rückte, desto weniger hat mich Lucy interessiert. Wenigstens war der Film schnell vorbei. Ich habe mich nicht zu sehr gelangweilt und habe für ihn nicht einmal 5 % meiner Gehirnkapazität gebraucht. (16.09.2015)

Scarlett is hot but has absolutely nothing to work with, the story has potential but is mired in a horribly shoddy earnestness, and Besson does present some good visual ideas, but for today's mainstream this nutcase is simply unusable and uninteresting. To limit a world in which almost everything is allowed to a few anti-gravity shenanigans and the transformation of matter like something out of B-grade sci-fi from the 80s takes a great deal of filmmaker's pathology. (28.02.2017)

Revisiting Lucy after all these years, I found myself still enjoying it. Scarlett Johansson's presence on screen is never unwelcome. The story was simple yet engaging, with a good sense of pace and humor. Even though I have my own opinions on various scientific and pseudo-scientific concepts, when Morgan Freeman delivers them, I'm more than willing to suspend disbelief for a moment. The film was classic Besson: packed with action, Asian gangsters, and impressive special effects. The whole spectacle kept me entertained. What got me was how I could switch off my brain while watching a movie about maximizing brain capacity. / Lesson learned: If you have any say in it, never let anyone stitch anything inside your body. Not more than three cigarettes under the skin in case of a shipwreck. (27.06.2022)

This idea is simply great. Not original, but I simply enjoy this material enormously. Just like I like that Besson turns it into a great B movie in places. He couldn't have chosen better actors, it works for him in terms of the story, although personally I could easily tolerate more philosophizing and less action in the end. I still have conflicting feelings about this movie, but I think Besson captured that idea well after all. (10.08.2014)

One star for the story, two stars for the casting of Scarlett Johansson. The biggest problem I see is that as the percentage of brainpower usage increases, it becomes too much of a mishmash. It seemed great at first, and I was actually quite curious to see what would happen next as the percentages increased. Unfortunately, once Besson starts getting to the heart of it all, everything goes down the drain. For one Sunday viewing, it's probably OK. Thank goodness for the short running time. (10.04.2020)