Critique of “Lou” (2022) by Anna Foerster

Review of the movie “Lou” distributed by Netflix and starring Allison Janney and Jurnee Smollet.

It may be questioned whether this Lou (Allison Janney) has really seen substantially better times; in any case, there are many indications that she, on the contrary, is dragging a pretty dark past. But she seems to have had enough, she says phrases like “the world is not a playground” or “life can be cruel” and means every syllable. Damn arthritis is getting to her and it’s keeping her from hunting. On the other hand, now would not be hunting time.

But she doesn’t give a fuck, and even the local sheriff (Matt Craven) doesn’t want to intervene too much when he sees the dead deer in the back of his truck. This is not to be trifled with, Lou. And she’s the little fun she’d had at most once in her life, that she tended to be rude, seemingly completely gone. So he goes to the bank, withdraws all the money, goes home, yells at the young lady from the neighboring property (Jurnee Smollett) about the outstanding rent, goes into her cabin, pours himself a whiskey, picks up his one last time. and holds the shotgun under his chin.

The time for this dramatic act is right now: a storm of historic proportions is approaching, and the country is also in a state of doom: the tragic Challenger disaster is still brewing on television, while President Reagan is already black like hell, under Lou’s disapproving gaze, lying about the Iran/Contra thing. So we meet here around of the year 1986, as hinted at in the overture Wanted Dead or Alive of Bon Jovi, and we have landed in the Pacific Northwest, on one of the San Juan Islands, in the US state of Washington. A picturesque area, for sure. Powerful and original, forest and water, windy and stormy. A good place to live. And a good place to die.

At least find Lou and finally put your finger on the trigger. But then it’s not a shot that breaks into the silence, but the delinquent tenant next door through the door. Her daughter has just been kidnapped by her presumed dead ex (Logan Marshall-Green), Hannah laments, croaking that the ex is an elite soldier, a member of the Green Berets who has been charged with war crimes for torturing prisoners. in El Salvador. A psycho in the face of the Lord and a bomb specialist on top of that. But Lou shrugs, throws his backpack away, and sets off with Hannah and Jax the dog, into the raging storm and deep woods.

LOU (2022) Allison Janney as Lou and Jurnee Smollett as Hannah. Cr: Courtesy NETFLIX

The synopsis of Lou actually gives hope for an exciting survival thriller with a lot of girl power. Merely seeing Allison Janney as a taciturn antihero in her advanced age promises an offbeat action movie. The fact that the screenwriter Maggie Cohn only gave the protagonist a hunting rifle and arthritis kills the initial euphoria and weakens the film minute by minute.

At second glance, this turns out to be a bit false. While the pouring rain in the middle of the Pacific Northwest is a fitting backdrop for a game of cat and mouse, the script destroys any chance of making the film an exciting thriller. The partner fighter, Jurnee Smollett, tries her best, but remains just a partner due to weak character drawing and has to endure this role to the end. The story is predictable and sometimes just plain hollow; Of course, a lighthouse also has to play a role. Let’s go!

That the male characters of Lou do not necessarily act way smart is no big deal. After all, the film wants to convey a certain touch of feminism. But even if Logan-Marshall Green as the antagonist falls victim to the loss of artificial intelligence, he robs the story of its last charm. So what remains is a mediocre action movie in a cohesive setting, with a helpless cast of actors and a story that really surprises no one.

Critique of “Lou” (2022) by Anna Foerster