Lucy

Lucy feels like the work of a filmmaker who has recovered his mojo.

Lucy is insane, makes very little sense, doesn't stand up to scrutiny and is an absolute blast.

It’s all ridiculous and enjoyable, and at the movie’s center is an actress creatively guessing at what omniscience might feel like.

Giddily recycling everything from “2001: A Space Odyssey” and “The Matrix” to yakuza actioners and National Geographic documentaries, it’s a garish, trippy, wildly uneven and finally quite disarming piece of work, graced by a moment-to-moment unpredictability.

Lucy earns points for its unpredictable treatment of its vaguely superhero-ish premise and an appealing silliness, but it struggles to match wits with the genius at its center.

The junk in Lucy doesn't entirely eclipse the moments when weird is fun.

Besson has always demonstrated the ability to chuckle at the madness of his own material, and he provides some solid laughs from time to time. But these winks do nothing to erase the reality of a plot that becomes unintentionally hilarious.

What an incredible movie. Scarlett was made for this part... The director, indescribable. A certainly masterpiece!!!!

借大脑潜能神话，呈现从感官牢笼到纯粹意识的演化。露西初获超感，剥离情感，看似尼采的“超人”，旋即超越权力意志。知识饱和致个体消融，悲悯与恐惧被绝对理性取代，这并非进化，而是逼近斯宾诺莎那无限永恒的实体——她成了“无我之眼”，见宇宙为信息洪流。 电影真正的主角是时间。露西说：“时间才是真正的度量单位。”呼应柏格森的“绵延”。当她化作无形计算机，说出“我无处不在”，非死亡，而是存在形式的跃迁——从碳基生命到硅基记忆，与宇宙共振。笛卡尔的“我思故我在”遂改写成“我传故我在”，生命意义归于知识传递。 《超体》的哲学拼贴虽驳杂，却迫使我们追问：意识终点若为消融自我、汇入无尽时间之河，这形骸之外的狂飙，是解放还是虚无？答案浪漫而冷峻——存在即痕迹，唯时间永恒

Fun action movie schlock I enjoyed watching this. Cast were great. The concept was an interesting if overindulgent excuse to have an action movie with Scarlett Johansson as the lead. It reminded me a lot of lawnmower man only a more positive character instead of losing their humanity or going full akira or chronicle when gaining more intellect and power Lucy becomes a sort of benevolent force of nature.

An Overproduced Sci-Fi Spectacle Undermined by Flawed Logic and Pacing140907 (1.5)Directed by Luc Besson and starring Scarlett Johansson, Morgan Freeman, and Choi Min-sik, "Lucy" (1994) follows a woman in Taipei who gains extraordinary psychokinetic abilities after a synthetic drug leaks into her system. The film feels like a newlywed bride wearing a sequined denim shirt with leopard leggings, dutifully frying holiday pancakes with misplaced toughness. In the beginning, the cross-cutting between human evolution and modern life, alongside documentary hunting footage overlaid with Lucy's capture, offered clever and refreshing directorial touches. However, once the pouch ruptures in her stomach and her body absorbs the drug to the point where she floats in midair, the narrative stumbles. While the CG visual effects are plentiful, the core message and emotional weight remain thin. When her rapid evolution begins and she stabs Mr. Jang's hands with knives, it felt like the film should have concluded; he is far too weak of an adversary to serve as a compelling final boss, leaving the plot riddled with illogical turns. Scenes like her body disintegrating in the airplane feel heavily overdone, creating frequent narrative gaps due to poor pacing. Her tearful phone call to her mother fails to evoke empathy, and even Morgan Freeman's authoritative voice explaining that the purpose of life is the transmission of knowledge cannot justify Lucy's ultimate transformation into a USB drive. From dated car chases to generic gunfights and bazooka fire, the execution falls short. A younger director might have at least made the spectacle visually mesmerizing, or a different ending might have saved it, but as it stands, the film is deeply disappointing.

It begins with an immense Darwinist bombardment, boasting science and depicting apes as quite stupid animals; then Lucy becomes a kind of immortal in life that begins to transcend memories and sensations beyond life itself: Hollywood's goal of stupefying its patients is fulfilled with this low quality work