Sometimes you get the opinion that certain directors watch far too many films and that they just cannot restrain themselves from emulating what it is that has already excited them on the screen. If one is in the mood for a smattering of John Woo’s “Hard-Boiled” mixed with lesser parts “Altered States”, “Koyaanisqatsi”, “Scanners”, “2001: A Space Odyssey” and “D.O.A”, then “Lucy” might be your particular blend of intellectual hemlock. French director Luc Besson continues his fascination with the empowered woman who is simultaneously emboldened with both superhuman abilities and high powered weaponry; a partnership that might seem either unnecessary or contradictory, but certainly makes for a stylish, if predictable, brand of mayhem.
In Besson’s universe, violence isn’t an eruption, but a kinetic ballet; though in lacking a resonant aesthetic shaking core comparable (even in ambition, if not execution) to Peckinpah’s seminal ballets of bullets and blood in “The Wild Bunch”, it fails to elicit little more than comparisons (especially in this case considering the ethnicity of the lead criminals) to the run of the mill Hong Kong shoot-em-up, violence in a Besson film is not used as a means to an end, but simply as a substitution for more intellectual pursuits; which is odd considering the consistent window dressing of tacked-on grandiosity mated with criminally undeveloped philosophical ambitions.
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