Lucy (2014)

Toro praises the film as an ideal summer movie, despite its unevenly lyrical execution. He singles out Johansson’s performance and the inventive depiction of Lucy’s growing powers.

The critic finds the film an imaginatively goofy, brisk flight of fancy rather than ordinary dumb fun. He praises its energetic first half and weird imagery, while noting that the second half overexplains its premise.

Ehrlich calls the film an exciting, wildly ambitious action movie and a welcome return to form for Besson. He praises its audacious visual style and the way it fuses familiar genre influences into a chaotic, exhilarating whole.

Stables finds the film preposterous but exhilarating, praising its controlled blend of action, pop science and metaphysical ideas. She especially applauds Scarlett Johansson, whose performance makes Lucy’s transformation compulsively watchable.

The critic finds the film’s absurdity entertaining, despite its failure to fully realize its metaphysical ambition. They praise Johansson’s mesmerizing performance and the film’s visually coherent, exuberantly bloody action.

The critic finds Lucy an entertaining, visually striking comic-book romp, though it loses interest as its heroine approaches omniscience. He praises Scarlett Johansson’s performance, especially her convincing shifts into unnatural intelligence.

Chang finds the film an enjoyable, unpredictable, if wildly uneven sci-fi diversion. He especially praises Scarlett Johansson’s performance for bringing the film’s disparate elements together.

Edelstein finds Lucy an outlandishly entertaining blend of silliness and style, despite a weak, abstract ending. He praises its inventive, high-energy action sequences and Johansson’s transformation into an action-movie force.

Hoffman finds the film mindless and incoherent but ultimately enjoyable, calling it Besson’s finest work since The Fifth Element. He praises Johansson’s magnetic performance and the propulsive action, while faulting a pointless subplot involving Korean criminals and French police.

The article appears to be a review of Luc Besson’s Lucy, but its text is inaccessible. The available page content does not reveal the critic’s verdict or what the review singles out.

The critic presents the film as a mind-bending, physical spectacle with a mixed-to-positive verdict. They single out Besson’s collision of science-fiction ideas and Johansson’s transformation as its defining attractions.

Brody finds the film’s science-fiction ideas fascinating and its visual spectacle thrilling, but says its story and implications are clumsy and hollow. He especially praises the audacious, visually inventive sequences that approach the metaphysical scope of Terrence Malick’s The Tree of Life.

The critic finds the film ridiculous but highly watchable, calling it Besson’s best since Léon. They single out its startlingly psychedelic moments as a key strength.

Nathan finds the film thrilling and stylish at first, but says it grows pompous and bogged down in scientific prattle. He praises Scarlett Johansson’s scintillating performance as the main reason to keep watching.

The headline presents the film as both Besson’s best in years and an especially ludicrous effort, suggesting a mixed verdict. It singles out the film’s audacious absurdity, though the review’s details are behind a paywall.

Turan finds the film an erratic blend of philosophical speculation and action that quickly becomes dull. He singles out its early superpower sequences as the most entertaining part, while criticizing the droning lectures and overblown ideas.

The critic dismisses the film as a poorly executed, increasingly absurd superhero spectacle. They single out its unsupported, godlike powers and weak storytelling as undermining both the premise and the action.

The critic finds the film absurd but captivating and calls it a return to form for Luc Besson. They single out Johansson’s performance and the film’s atmospheric style for praise, while criticizing its heavy-handed use of documentary footage.

The critic finds the film a thrilling, daft success despite its pseudoscientific logic gaps. They praise its assured visual craft and energetic, wide-ranging style.

Berkshire finds the film a startling, unpredictable blast of cinematic zeal despite its bogus scientific premise. He particularly praises Scarlett Johansson’s performance and the energetic visual and technical work that make the film’s silliness engaging.

The critic finds the film uneven but engaging, and ultimately a stimulating, arresting, fun ride. They praise Besson’s creative use of special effects and the premise about evolution and the mind.

The critic finds the film a frantically enjoyable blend of action and sci-fi silliness. They praise Scarlett Johansson’s action performance and the film’s energetic, provocative take on evolutionary ideas.

The page is blocked, so the critic’s verdict cannot be determined. No specific praise or complaint is visible in the supplied text.

The critic finds the film entertainingly audacious but ultimately vacuous, with Besson's reach exceeding his grasp. She praises its energetic pacing and flamboyant effects, while noting that Lucy becomes difficult to empathize with.

The critic finds the film absurd but entertaining, though its escalating ideas and action eventually become less engaging. They praise Besson’s knack for keeping his loony, ridiculous films from ever becoming dull.

The critic finds the film’s ambitious ideas overwhelmed by an exhausting, silly action spectacle. He praises some of the finale’s visual effects but faults the storytelling for failing to realize the film’s potential.

The critic finds the film a frenetic, emotionally hollow sci-fi actioner whose ideas are poorly executed. They single out its brain-expansion premise as intriguing, but say its attention-deficient approach undermines it.