Elektra assassinated its "plot" for Garner's flat stomach and eternal breezes. Oh my. Can no one write decent roles for the protagonist in female-lead blockbusters? I have never seen a character undergo so many personality changes in one film, until now. But that's the least of this film's worries as the problems that are littered throughout are ludicrously noticeable. So much so, that I started to wonder about menial issues like "why is Garner's cleavage constantly well lit for the camera?". Talk about unnecessary sexualisation. Anyway, after the events of 'Daredevil', Elektra is brought back to life and is tasked in assassinating a father and daughter. Unable to do so, she must then go up against "The Hand" and protect her targets. It started off well. Garner looked the part for the role, despite some wobbly acting, and committed to the infrequent action sequences. The character of Elektra had this serious persona, to which the somewhat dark narrative complemented her personality.
Then, after waiting thirty minutes, I realised that all I watched was training montages, a plethora of flat stomach displays and endless winds that made her hair and silky tassels gently wave in the breeze (even when inside...). There was a serious lack of plot that made the entire ordeal dull and monotonous. She meets a girl and a man who coincidentally turned out to be the targets. It was at that point I knew that the over reliance of my favourite criticism was in motion. Plot conveniences. The daughter is then apparently well equipped with a tiny whip, the dad disappears for the last half and one of the antagonising "The Hand" members unleashes wolf missiles. Stone, an impenetrable individual who stops bullets and breaks daggers, is crushed by a tree. The penultimate battle involves Elektra vigorously flailing her daggers...at floating cloths. Essentially what I'm getting at, is that the screenplay was atrocious. Inherently stupid. One scene Elektra is this tough flat stomached cookie, the next she is this joyous flat stomached motherly figure and then kissing the daughter's dad with no preconceived romance. Her schizophrenic-like behaviour is all over the place, and highlights the incompetent writing of its three writers. The action consisted of slow motion jumps and running. "The Hand" were underused (much like all of the characters). And, to be quite frank, suffers from an identity crisis. Aside from the decent opening sequence and Garner's resemblance of the character, Elektra pretty much "elektracuted" its chances of being a passable superhero flick.