Lou proved to be a shocking and nostalgic stunt for the first half, but it was completely undone by an endless second half beset with twists and repetition.
Of all the AARP aged actors in Hollywood today seeking a career revival through Liam Neeson/Taken senior citizen ass-kicking school, Oscar winner Allison Janney seems the least likely candidate. Sure, the actress has proven to have a knack for portraying strong-willed women who have no equal, but Janney’s weapon of choice has always been wit and prickly tongue, her fierce wit proving far more lethal than her ilk. of some piddly knife or loaded gun. That doesn’t mean that the titular character from the new Netflix action extravaganza Lou are some fools; indeed, there isn’t a moment where he isn’t the smartest person on screen, using his impressive ruse to try to stop Logan Marshall-Green’s generic bad buy. But Janney from Lou use fists first, words later, and that’s if they come at all.
But in theory, the actress’ choice actually makes sense, it sounds pretty stupid. It was only in execution that the film let it down, even after a rather promising first half. Lou from Lou is a former CIA agent working undercover in the turbulent ’60s, engaging in evil deeds that his colleagues find distasteful but he proves to be the most proficient. As the film opens, Lou is living off the grid in the remote Canadian wilderness, his trusted dog, Jack, his only friend. A montage reveals that Lou is preparing to commit suicide, no longer able to live with the guilt for his past actions. That the film’s first scene is Lou’s attempted suicide before suddenly cutting to the title card shouldn’t be too surprising; that writers Maggie Cohn and Jack Stanley managed to avoid adding frozen frames and a voiceover narration that included the line, “You may be wondering how I ended up here…” proves that at least some semblance of restraint is invoked, though the only example 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 has never seen. in a few years.
All of these characters meet on one fateful night as the storm of the century rages on, with Phillip kidnapping Vee and taking him to an unnamed location. Hannah interrupts Lou’s suicide attempt and asks for help, to his surprise, Lou is happy to give it. first hour Lou consists of two ferocious women who track Phillip and Vee through a vast and unrelenting wilderness, occasionally encountering one of Phillip’s ruthless underlings, all of whom Lou dispatches with surprising efficiency. The hand-to-hand combat scene is the best part of Louwith director Anna Foerster opting for a combination of medium shots and intimate close-ups that serve to highlight rather than obscure the intricate fight choreography, editing eschews all sorts of Meaning tomfoolery. The brutality of the violence is most shocking, as some viewers might expect to see Janney stab a man in the asshole with a jagged food can lid (though that doesn’t mean they, like this writer, won’t cheer). There’s also something a bit old-fashioned about the plot and choice of locations, with the addition of a hurricane that provides a wholly welcome late ’90s feel and a nice aesthetic supplement to the material—actually, more films need to rip off Christian Slater’s cast. Heavy rain.
Unfortunately, things turn monotonous at the hour mark, when Lou and Hannah finally confront Philip. “Wait,” you might ask yourself. “Isn’t the film 109 minutes long?” You will be right. Lou decided to give the audience a bit of a twist that should add gravitas to the process, but which instead lands them on an endless frontier, as the film suddenly turns into a portrait of a family feud, with Lou occasionally being shot or stabbed, accepting his fate, then recovered from nowhere and kicked more ass. It all gets really funny, just the practice of counting how many times this woman has been on the verge of death, with the healing powers of a nap proving her Lord and Savior. We’re taking a nice turn back to nostalgia too Lou eventually culminates in the lighthouse, apparently just so that multiple characters can dangerously hang it, but by this point viewers have become so used to the shallow, repetitive second act process that most will have checked it out. Janney’s physique throughout is impressively impressive, and she does what she can to inject some amount of grief into the morally despicable character, but even she can’t get over this legacy and outdated characterization. Smollett-Bell gets a few fun moments here and there—more than he ever had in a Tyler Perry production—but most viewers will feel bad that he and Janney had to wallow in mud and be drenched in a seemingly endless flood of water. for a long time. week at the end. There must be fun to be had Lou; it’s a shame the entire film feels swept away by the irresistible second half.
You can now stream Anna Foerster’s Lou on Netflix.
Source : inreviewonline.com