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Take Review – Allison Janney Takes Him But Leaves Us | action and adventure movies IV News

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TeaThe roles he played in actors over the age of 55, from playing dad to playing the dad, who is also a retired hitman, was a boon to the Neesons and Odenkirks and Costner, but less so to their female counterparts, the mother. shuffled from mother to mother, who is also married to a retired hitman. things seem little This year has allowed for more women of a similar age to improve in the action genre, which has traditionally left them unarmed, with Michelle Yeoh and Viola Davis fighting their battles for box office success ( Jamie Lee Curtis before returning to Michael Myers’ “The End” next month), and now, inevitably, Netflix is ​​kicking back with a more traditional vehicle, this time for Oscar winner Allison Janney.

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If only it weren’t called Lou, a terrifyingly silly title that’s hard to say out loud with any vague provocation (just try it – Lou, Lou, TakeIt’s sad to see it feeling any unexplained excitement or emotion of anything, in fact, a film that works best as an exciting concept – Allison does Jenny Taken – Compared to a real thing.

Jenny plays, You Got It, Lou, a gruesome, self-sufficient lone living, or existing, in the woods, haunted by something or someone, an intentionally simple life until one night things get complicated during a particularly dramatic storm. Be gone Her closest neighbor has been the daughter of Hannah (Jernie Smollett), we get it, tookAnd he needs Lou’s help to find her.

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who is lu? What is Lu? but most importantly, Why? is it lu? After intermittent running I have no clue, but mostly 107 minutes, which isn’t worthy of both Jenny’s talent and our attention. Lu briefly teases that it’s really about something, before she takes the curtain off our eyes, holding her hand and shrugs. The film was originally set at Paramount with JJ Abrams producing, a not-so-impressive origin story that is churned out on Netflix, but why the script garnered so much attention is probably the film’s biggest mystery. .

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Thelma and Louise Meet Tekken as initially described, Lou is a little more like Sleeping with the Enemy Meets Rambo meets Tekken, but sadly, it’s not as fun as it might make it sound. The missing child is captured by an abusive ex, played with soap dangling that turns out to be nothing by Logan Marshall-Green, and the opening storm-set tracking scene, forcing the women to club together , skillfully attractive. director Anna Foster, whose TV credits include genre fare like Outlander and Westworld, knows how to stage action and set a mood (base-level competency still matters a lot in the streaming Netherworld), and While Maggie Cohn and Jack Stanley’s scripts keep things simple, there’s some equally simple fun. Jeannie, as always, is a true supporter, and her tired cynicism, often used to comic effect, makes her a believably haunted adversary, and Lou allows for some cool, weighty moments. That his other work does not always tolerate him.

But there’s a dull, derailing twist that complicates and confuses what might be a tight little chase film, something far and far more difficult to contain. It turns the film into a lame melodrama and takes us further away from the action, a misguided attempt to replace adrenaline with emotion. Jeannie sells it regardless, but by the end she literally and figuratively walks away injured. Lou’s existence may be a step in the right direction for women over 50 in action movies, but it’s a wrong step everywhere.

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