Thriller Films

"Harry Shearer — Mr. Caiman"

"Matthew Broderick — Nick"

"Jean Reno — Philippe"

"Maria Pitillo — Audrey"

"The city that never sleeps just got a wake-up call."

"Kurt Carley — Godzilla Mo-Cap Service"

"1998. The year of GODZILLA!"

"Something Big Is Happening"

"Hank Azaria — Animal"

"Amusingly in 1954, Toho made a giant lizard and called it a dinosaur. In 1998, Tristar re-designed Godzilla as a dinosaur, but called it a lizard. Of course that wasn’t the only thing Tristar did wrong. They tried to ruin the monster completely. They took away the only thing that worked in decades of sequels, the look of the monster itself. Then they took away everything that made Godzilla appealing to Kaiju fans, then they tied it down and shot it. Such disrespect. If you’re going to make a movie that already has a fan-base, and they are the ones who will decide whether your film will pay off, respect those fans and the story they’re paying to see."

"Throughout Godzilla, it feels as though Emmerich is embarrassed of his subject matter; the dumb jokes and one-liners ("We need bigger guns," "That's a lot of fish," and so on) are like cynical, condescending winks to the audience. It's also obvious he wants to avoid reminders of the old Japanese films - not only is the creature itself almost totally different, but scenes that the audience expects to see in a picture called Godzilla are missing. Where is Godzilla smashing buildings and incinerating entire city blocks? The fierce battles between Godzilla and the army? The monster rearing back and bellowing his high-pitched roar? The are a few Godzilla-like moments in the affair - for instance, when Godzilla hugs a skyscraper and wails into the night; why doesn't he push the edifice to the ground? Wasn't the point of making a mega-budget Godzilla the chance to relive these classical thrills with super-enhanced visual effects? Sure, a gigantic reptile jogging down Fifth Avenue is impressive, but the new Godzilla was just a way for Sony to make its own upsized, dumbed-down Jurassic Park without getting sued by Steven Spielberg. The experience leaves one wondering why they bothered, for the awe of seeing CGI dinosaurs for the first time is gone, and there's little else that's new. Emmerich tries vainly to create an atmosphere of dread by dowsing the movie with rain, but gloomy skies alone do not equal subtext. The original Godzilla was a harbinger of doom, but this one is a gutless wonder whose only desire is to eat fish and give New York the ultimate pest problem: a clutch of Baby Godzilla eggs."

"...it's not Godzilla, it doesn't have his spirit."

"[Americans] seem unable to accept a creature that cannot be put down by their arms."

"[After the first fight between Godzilla and the military] What the hell's the matter with you people? You caused more damage than that goddamn thing did!"

"Running would be a good idea."

"When I heard that an American motion picture studio was going to produce a Godzilla film, I said, "Of course!""

"Probably the most difficult aspect for Westerners to understand is that at heart Godzilla is considered a force of nature by Japanese and not just an oversized radioactive lizard. Lizards can be killed; but nature can only be dealt with. It was one of the reasons the Roland Emmerich-directed Godzilla [1998] was such a failure with the fans. Like a lot of Westerners, he just didn’t get it."

"[Every time somebody mispronounces his last name] It's "Tatopoulos!""

"That's a lot of fish."

"Size Does Matter"

"[after Godzilla discovers one of his dead offspring] He looks angry."

"Frank Welker — Voice of Godzilla"

"Julian Rhind-Tutt - the Limey"

"Frédéric Chau - Jang's agent"

"The average person uses 10% of their brain capacity. Imagine what she could do with 100%."

"Scarlett Johansson - Lucy"

"Morgan Freeman - Professor Norman"

"She has the Power"

"There’s a refreshing lack of bull in Lucy. Two minutes into the movie, the titular heroine, a twenty-something raver (Scarlett Johansson) is forced by a d-bag boyfriend (looking like the world’s worst Bono imitator, complete with red sunglasses and cowboy hat) to deliver a mysterious package to a Taipei crime lord. Five minutes in, she’s sliced up, stuffed with the package’s contents — a potent new mind-expanding synthetic drug — and turned into an unwilling mule. Ten minutes in, a kick to the stomach leaks the drugs into her system, rebooting Lucy into a real-world, super-blonde version of Neo from The Matrix. It’s a superhero story that tells the origin tale with an economy and conciseness that’s been lacking through this whole movie summer. Actually, it’s been lacking in these types of movies for a while. Remember how long the Ang Lee version of Hulk took to get to the action? Yeah, Lucy presents the exact opposite. After that quick introduction, Lucy stays pedal-to-the floor for all of its brisk 89 minutes, as the newly-empowered Lucy sets off to track down the rest of the cartel’s unwilling mules, all while the drug unlocks more and more of her brain’s potential (with the bad guys chasing after her). … She busts out and guns down her captors like Rambo. She mind-melds into a brain like Spock. She flings around the cartel bad guys like Magneto, feels living life-forces like Luke Skywalker, drives like Jason Bourne and even jumps through time and space like Doctor Who. Who needs Iron Man, Thor, Captain America, Hawkeye and the rest of the Avengers? Lucy could demolish them all, and probably Batman and Superman and Wonder Woman, too. She could take care of the next two movie summers with no trouble at all."

"Set five minutes into the future, Lucy is about the birth of a new kind of superhero. With Scarlett Johansson playing our eponymous ninja with mental superpowers, there's a lot of fantastic action here. … Director Luc Besson is a genius when it comes to visual flair and action, so the action scenes (when we get them) are great. And the first act of the film is possibly one of my favorite superhero origin stories ever. Lucy is a college student in Taipei whose loser boyfriend tricks her into delivering a mysterious suitcase to an even more mysterious group of Taiwan mafia guys. Of course, they immediately kill her boyfriend and then drag her to a hotel room full of other dead people. This whole sequence is fantastic, with Lucy totally out of her depth and Besson interspersing the action with weird nature footage of animals eating each other. The tone is frenetic, ironic, and ultra-comic booky. … For anyone who listened to Johansson's sultry AI voice in Her, the role she plays in Lucy will feel like a reprise — except instead of being a machine who convinces us that she's human, here she's a human who is slowly becoming a machine. The more of her brain she uses, the more she needs to merge with a computer. Eventually, we learn that her destiny is to become an AI of sorts. Which means that she's one of those superheroes with an expiration date, able to kick ass for only a short time before evolving into something incomprehensible and irritatingly mystical. It's this plot point that drives the movie, flailingly, toward an attempt at having a grander message than "kick ass, warp reality, and look damn good.""

"Choi Min-sik - Mr. Jang"

"Fans of Johansson's patented flat affect — put to better use in Under the Skin and Marvel's The Avengers — will enjoy Lucy, as too will the kid from your college dorm who ate too many mushrooms that one night. … Nothing much happens in Lucy — the plot on a pinhead: Scarlett Johansson gets roped into being a drug mule for a crime boss in Taipei, and after ingesting her parcel becomes a near deity — but since it's shorter than some commutes, who cares? This is probably a spoiler, but in a movie as confusing and downright weird as Lucy, spoilers are relative."

"As she goes through her changes, the heroine’s demeanor changes from scared to awed to . . . preoccupied. Maybe even a little robotic (and here the similarity to Under the Skin seems overt). Cursed and blessed with a giant throbbing brain, the poor woman multitasks away, searching the cellular data she can see streaming from our phones (it ascends to the skies like multicolored marionette strings), typing on two laptops at once, and generally taking care of ontological business while the other characters pester her like gnats. Make that heavily armed gnats. … It’s all ridiculous and enjoyable, and at the movie’s center is an actress creatively guessing at what omniscience might feel like. I don’t know any other movie star going where Johansson has gone lately — certainly among the crop that sells magazine covers — and it’s probably beside the point asking whether she’s tired of the standard roles offered to pillow-lipped young actresses or is actively engaged in exploring the outer limits of power and perception. Of classic stars it was said “They had faces then.” Well, Johansson has a brain, and it appears to be expanding at an alarming rate. Somebody call the professor."

"Johansson plays Lucy as a mouthy hanger-on who’s transformed into a ninja Carrie White in The Matrix. Chinese assassins move fast, but she moves faster. She’s not, I should point out, a vigilante avenger. She’s beyond human emotion. It’s true that someone accessing, say, 50 percent of her brain probably has more cerebral things to do with her time. But in a way, this is cerebral. She throws one glance at the advancing hordes and it’s a bloody Busby Berkeley ballet of flying bodies."

"I think it is such an interesting imagination Luc has going on there … We always think and hear terms like, "We only use 10 percent of our brains" but did anyone ever imagine what it would be like if you could use more? So here comes Luc imaging what could happen if you could use more … With Luc Besson you have a knock-down, drag-out action film but then you have one that also makes you feel and think … It gives a little spark to your imagination to say "What if? What would I do? How would it be?""

"I think Scarlett Johansson is going to become our new alien overlord – of Earth, and life as we know it — based on Her, in which she plays a sentient computer system that ends up expanding to fill the universe, based on Under the Skin in which she plays an extraterrestrial creature attached to some sort of hive-mind, and definitely based on Lucy, Luc Besson's new movie. … She plays the sort of average American dimwitted student in Taiwan who accidentally ingests a new drug that allows her to access a hundred percent of her brain — which turns her into, by the end of the movie — I don't want to give too much away, but basically — she's God, by the end of the movie."

"Amr Waked - Pierre Del Rio"

"Pierre Del Rio: What happens when she reaches 100%? Professor Norman: I have no idea. But she is the key — to everything."

"This film is extremely visual. It is difficult to describe in words without running the risk of losing or boring the reader. I have come up with a simplified summary, therefore, like a readers guide, which will conjure up the images in as few words as possible :"

"Lucy cleverly capitalizes on Johansson's ascent by placing her in the lead of a movie that takes the best elements of Limitless and The Matrix, and develops them into a unique action property."

"Now let's examine a special case, the only living being that uses its brain better than us: the dolphin. It is estimated that this incredible animal uses 20% of its cerebral capacity. In particular, this allows it to have an echolocation system that is more efficient than any sonar ever invented by mankind. But the dolphin did not invent the sonar — it developed it, naturally. And this is the crucial part of our philosophical reflection we have today: can we therefore conclude that humans are more concerned with "having" than "being"?"

"And it is going through time that seems to be also the only real purpose of each of the cells in our bodies. To achieve that aim, the mass of the cells that make up earthworms and human beings has only two solutions—be immortal or to reproduce."

"For the moment it's just hypothesis, I confess. But if you think about it, it's troubling to realize that the Greeks, the Egyptians and the Indians had notion of cells centuries before the invention of the microscope. And what's to say about Darwin whom everyone took for a fool when he put forth his theory of evolution? It's up to us to push the rules and laws, and go from evolution, to revolution."

"One neuron, you're alive. Two neurons you're moving. And with movement, interesting things begin to happen."

"Time is the only true unit of measure, it gives proof to the existence of matter, without time, we don’t exist."

"I AM EVERYWHERE"

"If you're asking me what to do with all this knowledge you're accumulating, I say, pass it on … just like any simple cell, going through time."

"Pilou Asbaek - Richard"

"Life was given to us a billion years ago. Now you know what to do with it."

"Learning's always a painful process. Like when you're little and your bones are growing and you ache all over. Do you believe I can remember the sound of my own bones growing? Like this grinding under the skin. Everything's different now. Like sounds are music that I can understand, like fluids. It's funny, I used to be so concerned with who I was and what I wanted to be, and now that I have access to the furthest reaches of my brain, I see things clearly and realize that what makes us "us" — it's primitive. They're all obstacles. Does that make any sense? Like this pain you're experiencing. It's blocking you from understanding. All you know now is pain. That's all you know, pain. Where are the others? The others carrying the drugs. I need the rest of it. For medicinal purposes."