“Logan Lucky” Review ✦✦✧✧✧

27 August, 2017

Director: Steven Soderbergh
Screenwriter: Rebecca Blunt
Director of Photography: Steven Soderbergh
Channing Tatum, Adam Driver, Daniel Craig

Synopsis: A recently laid-off construction worker and his one-armed brother carry out a daring robbery, enlisting the help of an incarcerated demolition expert as they plot to steal thousands of dollars from a high-profile NASCAR race.

Logan Lucky Review:

A speedway heist with little to add to its already brimming sub-genre, “Logan Lucky” is a Soderbergh picture like all the rest, tripping over its own tail as brilliant ideas lose out to insufferable characters whose one-track mindset and lack of education muddies the path set by a dense screenplay. Essentially “Ocean’s Eleven” with rednecks instead of sharp-suited thieves, “Logan Lucky” executes its heist by the book, confusing viewers with an unusual angle of attack yet proving to be rather base in its understanding of the blueprint components that go into implementing a fictional robbery.

Ensemble filmmaking with a deadbeat sensibility, “Logan Lucky” lacks the brains required to transcend a typical storyline, lodging trashy characters into uninspired predicaments while searching for a reason to test out the David O. Russell effect. Relying on superficial signifiers to carry the weight of its performances, the film steals from the Guy Ritchie handbook but struggles to capture the essence of character-based cinema, covering Daniel Craig in tattoos and chopping off Adam Driver’s left arm yet achieving very little outside of its initial vision.

Written for dummies and performed in an alienating fashion with idiosyncratic plot points involving prosthetics, gummy bears, and pneumatic tubes feeling more like eccentric forethoughts than necessary creative inclusions, “Logan Lucky” chooses flat comedy over fast-track suspense, speeding ahead without the tactical build-up of a great heist movie. With Seth MacFarlane in a prominent supporting role, it feels like Soderbergh is closer to crafting a Will Ferrell satire of “The Killing” than a film destined to be mentioned in the same breath as classics like “The Sting” and “The Italian Job”, a postmodern ailment that would be easily fixed had the entire movie not chosen to encourage the idiocy of its key players.


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Logan Lucky