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There’s something immobile at the center of The Lady , a kind of Botoxed biopic with an unlikely director — Luc Besson — manning the syringe. Technically, that something is the figure of Aung San Suu Kyi: Here the Burmese activist is played by Michelle Yeoh, who gets the already wearisome Shepard Fairey treatment on the film’s poster, and seems to have attended the special edition stamp school of acting in preparation for the role. Almost to a scene, Yeoh is so still and serene she’s practically submerged, her dialogue seeming to rise like beatific air bubbles that burst into tiny, untroubled smiles at the surface. Rather than ripple out — and risk the suggestion of any small mercy of movement whatever — Yeoh’s performance forms a kind of undertow that pulls the surrounding story and characters into the hagiographic shallows, where they float like sea monkeys with better set dressing, blooping away about Burmese democracy.

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REVIEW: The Lady Flubs Its Chance to Tell the Story of Aung San Suu Kyi