Review of the film Atlas An absolutely unsalvageable action movie starring Jennifer Lopez that sets a new low for Netflix tentpoles

Review of the science-fiction action picture Atlas starring Jennifer Lopez: It is visually disorienting, has little ambition, and has no true redeeming qualities.There are terrible films, and then there are terrible Netflix-produced films. The streamer's most recent high-profile production, Atlas, is evidently determined to keep getting bigger and bigger, but it somehow falls short of the dismal caliber of its two previous big failures from earlier this year, which were the space opera Rebel Moon — Part 2: The Scargiver and the fantasy survival thriller Damsel. Atlas, a future action movie starring Jennifer Lopez as a soldier with trust issues, is dull, absurd, and sadly unsalvageable.Brad Peyton, the director of Atlas, looks to have washed ashore on the shores of streaming, seeking quick sanctuary from the Hollywood studio system he once served. Peyton served a time at the Dwayne Johnson penitentiary for stand-ins. The end product is an overly dramatic and poorly written muddle that lacks both the self-aware absurdity and technical skill of Peyton's earlier films, of which he is still most known for Rampage and San Andreas. In the story, Atlas, a brilliant but unruly person when it comes to chess, is dispatched to a far-off planet on a mission that practically amounts to a bounty hunt, with the goal of bringing Harlan back alive.

Following the ship's crash-landing and the death or capture of her entire platoon,She performs her best Sigourney Weaver impression, gets into a mech suit straight out of Alien 2, and for a significant portion of the ostensibly action-packed story, she stays motionless. As the film nears its conclusion, Peyton and his screenwriters, Leo Sardarian and Aron Eli Coleite, make the strange decision to bind Atlas to a table. Atlas is understandably motionless while she's wearing the bulky outfit. Therefore, there is a significant portion in which Lopez is required to provide a convincingly dramatic performance while lying motionless on a flat surface and rambling on about Atlas' past. It would be like asking Virat Kohli to hit sixes while holding one arm behind his back in a film.However, you shouldn't take this kind of film seriously. It's the kind of movie where individuals rush for cover and utter stuff like, "He's targeting my fusion reactor," and "My turn," after enduring a hail of gunshots. In relation to that, Lopez spends a good deal of the film alone herself, forced to perform either by herself or through the disembodied voice of an AI assistant that Atlas eventually compels her to rely on. These are some of the most boring scenes in the movie, with the writing going completely bonkers in its naive attempts to have the two protagonists engage in buddy-movie banter.Lopez most likely never left the studio. She doesn't even seem to have perspired.

The underpaid and overworked visual effects artists are the only crew members who might have needed electrolytes and caffeine, and they will all be unfairly held accountable for their involvement in what is unquestionably the most unattractive film of the year thus far. It would be correct to describe Atlas as an eyesore, but that would also, regrettably, suggest a misty-eyed nostalgia for the era of Red Notice and The Gray Man.