Jennifer Lopez’s latest film, Atlas, premiered on Netflix on Friday, but it was released amid a wave of negative reviews from film critics.
The sci-fi thriller earned a disappointing 14 percent rating from top critics surveyed by Rotten Tomatoes, indicating a wave of solid pans.
Metacritic, which accounts for the strength of pans and praise, gave the film a score of 38 out of 100, indicating “generally unfavorable” reviews.
Lopez – who has been inundated with rumors of a breakup with husband Ben Affleck in recent weeks – stars in Atlas Shepherd as a data analyst involved in tracking down a computer artificial intelligence that turned murderous nearly 30 years earlier, leading a rebellion against humans which left three million dead.
Atlas has a personal stake in the efforts to find and destroy the AI, named Harlan (and played by Simu Liu), as his mother was responsible for its creation decades earlier, before she killed it with millions others.
Jennifer Lopez’s latest film, Atlas, premiered on Netflix on Friday, but it was released amid a wave of negative reviews from film critics. always from Atlas
The sci-fi thriller earned a disappointing 14 percent rating from top critics surveyed by Rotten Tomatoes, indicating a wave of solid pans; photographed Tuesday in Mexico
Lopez, 54, joins a group of soldiers equipped with mechanized suits trying to find Harlan, including Sterling K. Brown as Colonel Elias Banks and Mark Strong as General Jake Boothe.
But several reviewers criticized Atlas’s “formulated” story and lack of original material, raising questions about whether an AI-written storyline could have been an improvement.
New York Times film critic Alissa Wilkinson wrote that Atlas looks “cheap” and “plastic”, and that it “sometimes feels like pure pastiche”.
“Science fiction often earns its place in memory by imagining something new and astonishing – but with Atlas, we’ve seen it all before,” she wrote.
Benjamin Lee gave Atlas two stars out of five for The Guardian and compared the film to the kind of “silly, irony-free” blockbusters that were a regular fixture of Memorial Day weekend twenty years ago.
However, he believed the Netflix film suffered from the flaws of many previous films released by the streamer that attempted to emulate those past big-budget hits.
“Like many of the streamer’s other mockbusters – its more naked attempts to compete with the bigger boys – it’s too synthetic and self-serious to possess anything close to self-awareness,” he wrote.
Todd Gilchrist of Variety called Atlas “disappointing” and compared it to the mediocre films that Lopez has mostly made over the past two decades, rather than the early hits that made her a star, including Selena (1997). ) and Out Of Sight (1998). .
He lamented that Lopez turned to a “generic sci-fi adventure” like Atlas after her Oscar-snubbed role in Hustlers, and he placed much of the blame on the film’s script by Leo Sardarian and Aron Eli Coleite .
New York Times film critic Alissa Wilkinson wrote that Atlas looks “cheap” and “plastic”, and that it “sometimes feels like pure pastiche”; always from Atlas
Several critics have noted that Atlas suffers from a formulaic storyline. William Bibbiani complained in The Wrap that he failed to develop anything new despite allusions to classic science fiction and action films; always from Atlas
Among the few positive reviews, Angie Han offered mild praise in The Hollywood Reporter, writing that “Lopez’s chemistry elevates otherwise banal dialogue into passably amusing, sometimes touching banter”; seen in Los Angeles in March 2023
In The Wrap, William Bibbiani called the dialogue “generic” and accused Atlas of suffering from an “embarrassing plot” with “poor acting”.
He derided the film for its seemingly cheap atmosphere, including an alien planet that looks “suspiciously…(like) Northern California” and the AI villain’s lair, which “seems to have been modeled on a warehouse abandoned “.
Among the few positive reviews, Angie Han offered mild praise in The Hollywood Reporter, writing that “Lopez’s chemistry elevates otherwise banal dialogue into a passably amusing, sometimes touching, joke.”
Brian Lowry modestly praised the film for CNN, writing that Peyton “moves the story forward with a level of efficiency that checks your brain at the door, relying on the shorthand of familiarity of almost every beat “.
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