lou He proves to be a surprising and nostalgic action actor for his first half, but is completely undone by an endless second half beset by twists and repeats.
Of all the AARP-age actors in Hollywood looking for a career revival through Liam Neeson/Taken kick-ass school for seniors, Oscar winner Allison Janney seems the least likely candidate. Sure, the actress has shown a knack for playing strong-willed women for whom no opponent is much of a match, but Janney’s weapon of choice has always been a biting wit and tongue, her fierce intelligence proving to be much more lethal than the tastes. of some puny knife or loaded gun. That’s not to say that the main character in Netflix’s new action extravaganza lou he is a simpleton; in fact, there isn’t a time when she isn’t the smartest person on screen, using his impressive wiles to try and put a stop to Logan Marshall-Green’s generic bad buy. But the Janney’s lou use fists first, words second, and that’s if they come.
But in theory, the choice of actress actually makes sense, as ridiculous as that sounds. It’s simply in execution that that movie fails it, even after a pretty promising first half. the lu of lou is a former CIA agent who worked deep undercover in the volatile ’60s, engaging in nefarious acts that her colleagues found distasteful but proved more adept at. As the movie opens, Lou lives off the grid in the remote Canadian wilderness, her trusted dog Jack, her only friend. A montage reveals that Lou is preparing to commit suicide, as she can no longer live with the guilt of her past actions. That the first scene of the movie is Lou’s suicide attempt before abruptly cutting off the title card shouldn’t come as much of a surprise; that writers Maggie Cohn and Jack Stanley managed to avoid adding a freeze frame and voice-over narration that included the line, “You’re probably wondering how I ended up here…” shows that at least some semblance of restraint was invoked, though the only instance to be found. Meanwhile, next door neighbor Hannah (Jurnee Smollett-Bell) lives with her young daughter, Vee (Ridley Asha Bateman), and has a troubled relationship with her ex-husband, Phillip (Marshall-Green), whom she she has not seen. in several years.
All of these characters converge on one fateful night as the storm of the century rages on, with Phillip kidnapping Vee and taking her to an unnamed place. Hannah interrupts Lou’s suicide attempt and asks for help, which Lou, surprisingly, is more than happy to provide. The first hour of lou consists of these two ferocious women who follow Phillip and Vee through the vast and unforgiving wilderness, occasionally running into one of Phillip’s violent underlings, whom Lou dispatches with amazing efficiency. The close combat scenes are the best part of louwith director Anna Foerster opting for a mix of medium shots and intimate close-ups that serve to highlight rather than obscure the intricate fight choreography, the edit eschews any sort of Bourne antics. The brutality of the violence is all the more surprising, as few viewers are likely to expect to see Janney stab a man in the anus with a jagged canned food lid (although that doesn’t mean they, like this writer, don’t). will cheer). . There’s also something old-school in both the plot and the choice of location, with the addition of the storm giving the proceedings a late ’90s vibe that’s totally welcome, and a nice aesthetic complement to the material. ; in truth more movies need christian slater action actor rip off Strong rain.
Unfortunately, things get monotonous at the appointed time, when Lou and Hannah finally confront Philip. “Wait”, you may be wondering. “Isn’t the movie 109 minutes?” You would be right. lou decides to give the viewer a little twist that is supposed to add seriousness to the proceedings, but instead makes them nearly endless, as the film suddenly turns into a portrait of family discord, with Lou occasionally getting shot or stabbed, accepting his fate, then recovering from nowhere and kicking more butt. It all becomes downright comical, simply an exercise in counting the number of times this woman is on the verge of death, with the healing power of a quick nap proving that she is Lord and Savior. We put a nice twist on nostalgia as well as lou it finally culminates in a lighthouse, seemingly just so numerous characters can dangle dangerously from it, but by this point the viewer has become so used to the banal and repetitive proceedings of the second half that most will have already seen it. Janney’s physique throughout is impressive, and she does what she can to inject a measure of pathos into a character that is morally reprehensible, but even she can’t get over this derivative and hackneyed characterization. Smollett-Bell has a few nice moments here and there, more than she’s ever been allowed to in a Tyler Perry production, but viewers will mostly feel bad that she and Janney had to wallow in mud and get drenched in downpours. Seemingly endless water for weeks at a time. There is certainly some fun in lou; it’s a shame the entire movie feels washed out by an insufferable second half.
You can currently stream Anna Foerster lou on Netflix.
Source : inreviewonline.com