Lucy

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)

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)

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)

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)

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)