REVIEW: Lucy (2014)

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Directed by Luc Besson
Written by Luc Besson
Starring Scarlett Johansson, Morgan Freeman, Min-sik Choi, Amr Waked, Julian Rhind-Tutt, Pilou Asbaek, Analeigh Tipton

2014 saw the release of two films dealing with the concept of a post-human being: Wally Pfister’s Transcendence, which depicts the technological-based post-human concept of whole-brain emulation, and Luc Besson’s Lucy, which goes for a more preposterous premise for its titular transcendent being and uses her to tell a very spacy and heady action movie.

It was supposed to be a simple job. All Lucy (Scarlett Johansson) had to do was deliver a mysterious briefcase to Mr. Jang (Min-sik Choi). But immediately Lucy is caught up in a nightmarish deal where she is captured and turned into a drug mule for a new and powerful synthetic drug. When the bag she is carrying inside of her stomach leaks, Lucy’s body undergoes unimaginable changes that begins to unlock her mind’s full potential. With her new-found powers, Lucy turns into a merciless warrior intent on getting back at her captors, receiving invaluable help from Professor Norman (Morgan Freeman), the leading authority on the human mind, and French police captain Pierre Del Rio (Amr Waked).

Like many of Luc Besson’s films, Lucy is a frothy-sweet mixture of pseudo-intellectual ideas and impeccably-staged action, centered around a strong female lead who can kick some serious ass. This time around, that lead is Scarlett Johansson, and her ass-kicking is the product of her unlocked mind. Embracing the tired old myth that human beings only use 10% of their brain mass, or “cerebral capacity” as Professor Norman calls it, Besson uses the hypothesis in a somewhat convoluted setup to a frenetic and stylish action flick that actually manages to make up for its narrative deficiencies.

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Before I go on to sing Lucy‘s praises, I must address the elephant in the room. As I already mentioned, Besson’s take on the mighty psionically-powered superhuman is fundamentally flawed from its base within the 10% brain usage myth. Simply put, it’s complete rubbish. We use every bit of our brains, and there is absolutely no evidence to suggest otherwise. Digging deeper into the premise of this “hypothesis,” mostly told through scenes of a lecture by Professor Norman and later by Lucy herself, only reveals the massive holes in Besson’s logic. Lucy’s ever-expanding cerebral capacity reveals dormant abilities in the human brain: complete control over her own body, over others, over electromagnetic signals, and finally, time itself. So why does she need a massively powerful synthetic drug to access it? Why do any of us? How exactly does a simple flesh-and-blood organ exert control over space-time? Besson tries his best to explain, but his best isn’t enough to ever come off as believable.

Luckily, he is very skilled at crafting a hell of a violent good time. Beginning with Lucy as a scared college student at the mercy of Oldboy‘s Min-sik Choi as a typical-to-form slimy Besson gangster, the film weaves an intricate drug mule plot that intercuts with both Norman’s lecture and some very on-the-nose shot sequences of predators and prey. It’s classic Besson, and provides suspenseful opening that eases the viewer into the more metaphysical remainder of the film, which starts with the bag of CPH4 rupturing in Lucy’s abdomen, exposing her to an overdose of the superdrug.

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From here, Johansson carries the film in a performance that it truly doesn’t deserve. Going from a terrified young woman, authentic in every way, the CPH4 transforms her into a relentless killing machine with very little humanity left. It’s a very tall order for any actor to have to play, but Johansson toes the very fine line and succeeds brilliantly, appearing sufficiently creepy with just the right amount of her previous identity to anchor the character. Min-sik echoes her creepy factor as Jang, and Amr Waked rounds out the main players as a French detective caught up in Lucy’s quest to acquire more of the drug in order to stay alive. And of course, Morgan Freeman is God–er, I mean Morgan Freeman.

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Heavy on CGI visual effects, Lucy nonetheless electrifies visually, appearing as a clean and colorful digital slate punctuated by images of the changing innards of Lucy’s body and the powerful manifestations of her new abilities. Action scenes are handled with care, either with a tactful mind to cutting or with John Woo-style slow motion that allows us to savor every gunshot, every pounding hit.

When it comes down to it, Lucy likes to play around with very interesting and profound ideas about human perspective and the boundaries of perception and reality, with a character that has truly transcended all of it. Whether it does that well seems to be up to interpretation, given it’s horribly wrong method of presenting said questions. Lucy is blue pill entertainment; meant to be consumed, not savored, and while I can’t quite turn my brain fully off to avoid complaining about the perpetuation of pseudo-science at its worst, that doesn’t mean I can’t recommend the film for what it is: hella fun.

REVIEW: Shin Godzilla (2016)

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Directed by Hideaki Anno and Shinji Higuchi
Written by Hideaki Anno
Starring Hiroki Hasegawa, Yutaka Takenouchi, Satomi Ishihara, Ren Osugi (get accent mark), Akira Emoto, Kengo Kora (accent), Mikako Ichikawa, Jun Kunimura, Pierre Taki

With the success of Legendary Pictures’ Americanized reboot of Godzilla, Toho back in Japan wanted to get back into the action. While still retaining the rights deal with Warner Brothers, allowing the Monsterverse to continue, Toho set about producing a new film to be directed by Hideaki Anno, the famous creator of Neon Genesis Evangelion. If you’re a fan, than you are probably assuming right now that Godzilla goes all metaphysical, right? Eh, not quite.

An unknown accident occurs in Tokyo Bay’s Aqua Line, flooding the underwater passageway as citizens scramble to evacuate. An emergency cabinet meeting is assembled, just in time to witness a giant creature surface from Tokyo Bay and make its way across land in the heart of the city. Growing in size and mutating with each unsuccessful attack against it, the creature seems unstoppable. Government official Rando Yaguchi (Hiroki Hasegawa) is placed in charge of a special research team to investigate ways to kill or incapacitate the beast, now dubbed “Godzilla.”

More than several kaiju and tokusatsu films have tried to establish a realistic scenario for the appearance of a giant monster; the original Godzilla and the Heisei era films The Return of Godzilla and Godzilla vs. Biollante presented the effect of the titular kaiju upon various geopolitical aspects of the world, while “foreign” monster films like the British Gorgo and Korean The Host carried an air of authenticity and spectacle to their visions of creature carnage. Shin Godzilla can easily be added to this fraternity, but its approach to the material is substantially more plausible and researched. Why? Because Shin Godzilla can be referred to as “Politicians vs. Godzilla.”

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The film begins with a brief mystery in the form of a deserted pleasure craft in Tokyo Bay before the water erupts in a large steam eruption, causing damage and flooding to the Tokyo Aqua Line highway. We as an audience are then treated to 13 minutes of dry bureaucracy. Yes, you read that right. As we are introduced to protagonist Rando Yaguchi, Deputy Cabinet Chief, we are also introduced to his world of relentless politics and red tape as Cabinet meeting after government committee after press conference seeks to establish just what is going on, and what to do about it. If this sounds incredibly boring, than I wouldn’t blame you, but I would rest easy–with the quick pace and sheer amount of subtitles you’ll be reading, I’m sure you won’t be too listless during your viewing.

Close viewing during this opening sequence will reward inquisitive viewers, however, as Anno’s intent quickly becomes apparent among every ignorant assumption and naive rush to judgment several government officials make, always rewarded with a simple, fast cut to a harsh reality check in the form of the giant monster now wading out of the bay and into metropolitan Tokyo. Again and again, even with the best of intentions, Japan’s flat-level democratic government, following the exact letter of the law, fails against the nuclear menace, resulting in one of the most salient and darkly humorous satires of government around today.

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But this is a Godzilla movie, you shout, and I soothe and calm with my analysis of the character, as this Godzilla is probably the most unique iteration on screen. First appearing quite alien to previous versions in the form of a bizarre, fish-eyed, bleeding-gilled monstrosity that can barely support its own week, it soon begins to mutate, revealing the most innovative addition to the Godzilla mythos: this Godzilla is highly adaptive, capable of mutating its body and DNA at will. Resulting in a changing creature that forms the most hideous Godzilla design yet, this film hits a home run in devising a new spin on the Big G.

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Further building on the design is co-director and special effects artist Shinji Higuchi’s work in creating Godzilla, this time done almost completely with CG effects. A clear break from tokusatsu tradition, to be sure, but the end result is incredibly convincing, due to the effects team’s efforts to keep Godzilla as stiff and suit-like as possible, which ironically gave the design a lifelike quality that accurately conveyed size and power. Their finest work probably comes at the halfway point in the film when Godzilla is bombed by American B-2 bombers, enraging the beast and prompting his first use of his destructive atomic beam.

Most of these scenes are accompanied by an equally-unusual sound design, employing a mixture of classical Toho sound effects and Akira Ifukube music with new sounds and music cues. When I first saw the film in theaters during its short American run, I was unimpressed and even bothered by the use of the old sounds and music, feeling that their limited dynamics were out of place. Now I’m convinced it was the fault of the cinema’s speaker system, as the blu-ray’s uncommon 3.1 mix produces a deep fidelity and bass I do not recall encountering before. In short, Shin Godzilla should highly please fans of the classic films with regards to their ears.

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After the mounting destruction of the first half, Godzilla falls into a long hibernation, and Rando’s research team reforms to discover a way to defeat him before a UN coalition employs nuclear weapons to resolve the situation. After systematically deconstructing the helplessness of Japan’s democracy to handle the crisis, Anno’s film then abruptly turns about face, giving Rando and his nerds the reigns to save the day with democracy. They bend only the rules they cannot follow to the letter, and break none, showing that even below the layers upon layers of tape, the right men and women with the right combination of ambition, compassion, and courage can prevail and make this world a better one.

Now I know that sounds very different from what is expected from a serious Godzilla movie, but fret not–the final scene brings one final revelation, one I won’t reveal here. Let’s just say that Godzilla’s origins as Nature’s reaction to the ravages of the human race are preserved in full with this film, and while Shin Godzilla requires an open mind and a quick eye for subtitles, to the right viewer, it is a real gem of modern tokusatsu. With Shin Godzilla, Anno has shown what humans can be capable of when working together toward a noble goal…but nature is patient, and she never forgets our crimes.