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Lucy

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Lucy dramatises the title of a film from earlier this year that also featured Morgan Freeman explaining pseudo-science – Transcendence. Lucy has already been more commercially successful than Wally Pfister’s film (over $270 million at the time of writing as opposed to $103 million for Transcendence’s entire theatrical run), and Luc Besson’s film could easily have been called Transcendence while Pfister’s could have been called Singularity (which might also work as a title for the forthcoming Interstellar, but I digress). Lucy is effectively a superhero film, the digital sequences that display the effect of a mysterious blue powder on the titular protagonist (Scarlett Johansson) are reminiscent of scenes in Blade (1998), Spider-Man (2002), Hulk (2003) and Daredevil (2003). But rather than emphasising spectacular action (which does appear but in a subordinate role), Lucy’s focus is on higher states of consciousness, increased intelligence and alternative perceptions of reality. The character Lucy transcends the film’s starting point for humanity and the film builds steadily towards transcendence with a focus upon heightened experience. Besson does not always strike the right balance between his (completely fictional) science and the spectacle of elevated experience, but Johansson is an engaging and reliable presence who carries the film for its brief running time. 

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