The down-and-out luck of two loser brothers hinge on the theft of millions that will earn them the tag ‘Logan Lucky’. Trying to reverse a family curse, brothers Jimmy (Channing Tatum), who is recently unemployed, and Clyde Logan (Adam Driver), who is forever with one arm, set out to execute an elaborate robbery during the legendary Coca-Cola 600 race at the Charlotte Motor Speedway. To do so, they will need the help of a crime mastermind Joe Bang (Daniel Craig) who himself is behind bars. The brothers ban together to construct a plan to get Joe out of the hole, as well as construct the step-by-step procedure in ripping off the Nascar circuit without getting caught or even losing their lives. ‘Logan Lucky’ is the comeback movie from critically acclaimed retired director Steven Soderbergh, and is rated PG-13 for adult language and some crude comments.
Thank the movie cinema lord above that Steven Soderbergh is back behind the camera where he belongs. Following an impressive career with box office hits like ‘Traffic’, ‘Contagion’, and of course the ‘Oceans’ trilogy, Steven opted to take a break from the silver screen to front success in the television market, and while I wish him all of the luck in any kind of media that he attempts, it is clear that the man has not lost his touch with visual storytelling that fronts arguably the best narrative in a Soderbergh film that I have ever seen. ‘Logan Lucky’ is definitely not without its problems. At nearly two hours long, the film does start to overstay its welcome with a third act that presents some unnecessary tension and dramatic pull during a time when it feels like the movie should be wrapping up. But on the overall spectrum, I would be lying if I said that I didn’t have a fun time with the wacky hijinks surrounding this historically unlucky family, and their quest to restore their good name amongst a town that has practically written them off a long time ago. To that degree, Steven too feels like the right man for the job, and his latest is proof that this critically heralded director still has some strong days ahead, even if he is venturing back to familiar territory.
With four heist movies now under his belt, it’s difficult not to credit Soderbergh with being the best heist movie director of all time, if such an award truly exists. For ‘Logan Lucky’, I will credit him as a director and writer because we all know Steven plays with pseudonyms in his cast when he chooses to do things incognito. With helming this script, he manages to add some original flares in narration to keep it fresh along the way, pointing to the belief that he has in his audience to be patient with this developing plot and characters. There are aspects to the story that immediately will feel like throwaway dialogue or one-off scenes to pad time, but what I found astonishing was that each and every little piece connects to a bigger picture, and once you start to understand how the grinds turn in this giant machine, you start to truly appreciate what the movie is trying to communicate in if you’re still paying attention. Like most heist films, it does take a degree or two of sustaining disbelief, being that some of these methods to get the cash rely on faith at best, so it’s in those aspects of the film that I feel people will either be on board or not when it finishes their overall dissection on the picture.
The film is very funny and responsible with its dialogue and depiction of Southern U.S.A without feeling too truly overbearing on stereotypes or cultural perception to an insulting degree. I feel like Soderbergh understands these small towns and the conversations alike, so much so that he conveys between these colorfully animated characters that he orchestrates with a light-hearted element of focus on family and the importance that it plays into every decision.. I compare it a lot to ‘O Brother Where Art Thou’, in that so much of their disconnect from the rest of the world isn’t seen so much as something that is lacking, but rather an educational spin on atmosphere that could help everyone outside of the bubble understand their knowledge of the way the world spins tri-fold. Steven’s award winning cinematography behind the lens is also important in said atmosphere, mainly because his exceptional work in editing and pasting keeps the air fresh with movement to feed into these vulnerable angles. Some scenes will have you wondering why they were depicted in such a manner, mainly the crotch shot of Daniel Craig doing push-ups, but it’s to constantly remind audiences that this is a comedy first, and it is one that goes hand-in-hand with juggling such extreme consequences that come with laying it all on the line for one wealthy score.
If there was a weakness to the film for me, it was as I mentioned earlier the spotty third act that feels like it prolongs the dramatic pull long after we as an audience have crossed that bridge, as well as a twist during the third act that frankly doesn’t make sense. A certain A-lister is introduced to the film with only twenty minutes left of it, and it all felt like slightly unnecessary tension that honestly goes nowhere with the film’s ending. Just before the credits roll, it’s kind of left in a hinting way that this story is far from finished, and that feels like a cop-out with how cleverly decisive everything was wrapped up in the closing moments from seeing the whole plan play out in real time. It sticks out more evidently because the first two acts of this movie are so crisp and careful in its planning, choosing to focus more on the build-up to the big day, rather than the heist itself, and it’s incredibly smart in this direction. Once we care about the characters and what is going into every measure of this plan, the impact of it all will connect like falling dominos one clap at a time.
This especially well-rounded cast also does a marvelous and committed job to their characters, sticking to details in personal traits that held up astoundingly through two hours. We can all silence the doubt that Channing Tatum cannot act anymore because this kid can lead a film with such heart and empathy that it makes you almost forget you are watching one of the best looking men in Hollywood, and instead seeing a small town hick with a bad knee spitting tar. Tatum’s accent is consistent throughout the film, and I feel that he has always flourished with wacky comedies like this and anything from the Coen Brothers. Adam Driver for me was the true whirlwind of this picture however. We’ve gotten to the point where Driver is so much more than just delightful with his dry delivery, he’s also gravitating an emotional pull under the surface that channels a side to humanity that very few are able to pull off in 21st century cinema, and I credit him for being so much of the movie’s pulse when sometimes the moral fiber is wearing thin. The reason for a lot of that is Daniel Craig and his unforgettable turn as explosives expert Joe Bang. With a name like that, you know you’re destined for a layered wild card of a character, and Craig certainly doesn’t disappoint, exchanging his English accent and Bond tuxedo for a Southern drawl and bleached blonde hair that truly brings out the hick in him. Craig is possibly the last guy I would expect for a role like this, so it makes it all the more mesmerizing when you see a suave actor like him commit and have fun to a role that couldn’t be any more polar opposite of his demeanor. A true hoot.
THE VERDICT – ‘Logan Lucky’ races to the finish line ahead of most of the pack in the overcrowded heist genre, and does so with one of its master drivers at the helm. Soderbergh’s much anticipated return to the silver screen is a fun thrill ride that does skid at the end of the journey, but the entertainment factor of a big list cast, as well as a carefully mapped out script, gives this one enough traction to pace itself through the slick turns of dramatic digestion that sometimes oversells itself. With a successful comeback, perhaps we are the lucky ones.