A dark force threatens Alpha, a vast metropolis and home to species from a thousand planets. Special operatives Valerian and Laureline must race to identify the marauding menace and safeguard not just Alpha, but the future of the universe.
A veteran tracker with the Fish and Wildlife Service helps to investigate the murder of a young Native American woman, and uses the case as a means of seeking redemption for an earlier act of irresponsibility which ended in tragedy.
Manji, a highly skilled samurai, becomes cursed with immortality after a legendary battle. Haunted by the brutal murder of his sister, Manji knows that only fighting evil will regain his soul. He promises to help a young girl named Rin avenge her parents, who were killed by a group of master swordsmen led by ruthless warrior Anotsu. The mission will change Manji in ways he could never imagine - ... See full summary »
Teenagers Zach and Josh have been best friends their whole lives, but when a gruesome accident leads to a cover-up, the secret drives a wedge between them and propels them down a rabbit hole of escalating paranoia and violence.
The film was distributed by cutting out studios, in order to have creative control and make money directly from the film itself. Accordingly, for this atypical distribution, Steven Soderbergh raised the budget by selling off foreign distribution rights, and then sold everything except the movie showing up in a movie theater in order to pay for advertising and prints of the movie (for example, selling post-theatrical rights to the likes of HBO, Netflix, Video-On-Demand, television, and airplanes). By following these two steps, Soderbergh was able to sidestep a Hollywood studio, and had creative control the entire time (for instance, the trailers that dropped earlier this summer were by his design, as was the poster and the entire marketing plan). Also, according to Soderbergh, under this set-up, the box-office bar for success is lower. With nearly everything prepaid, and no hefty distributor fees coming off the top, even a modest fifteen million dollar opening would be a win. See more »
When Joe puts the explosive bag into the cash container, the top of the bag is caught in the lid. The container is is fired through the tube with the lid at the back. The container is then fired back and into Clyde's chest with the lid facing away from Clyde. This wouldn't have happened as the lid was last in it should have been first back out of the tube. See more »
Written by David Sutch (as Lord Sutch) and Jimmy Page
Performed by David Sutch (as Lord Sutch)
Courtesy of Atlantic Recording Corp.
By arrangement with Warner Music Group Film & TV Licensing See more »
A star vehicle that fulfills what it sets out to do in the first place! [+72%]
'Logan Lucky' is a film that almost never sheds its 'hilarious' tag (have a look at some of the crazy credits for instance - "introducing" Daniel Craig as Joe Bang - holds true in a funny way. This is the rawest version of him yet, playing an in-car-ce-ra-ted safecracker, a sharp contrast to his suave-looking 'James Bond' persona) - it's an exhilarating ride for the entirety of its duration - a great comeback (from retirement) piece for Steven Soderbergh, directing from a smooth-as-silk screenplay by 'mystery writer' Rebecca Blunt (rumored to be Soderbergh's wife).
A lot many viewers don't find Soderbergh films ('Contagion', 'Side Effects', 'Magic Mike' and the 'Ocean' series to name a few) to possess the conventional aspects of entertainment, yet they've all (or mostly) held their attention owing to his purposive film-making approach. He doesn't make ensemble-flicks just because he wants his posters to feature big names - there's always a strong screenplay and sensible craft backing their presence.
Soderbergh treads familiar territory in 'Logan Lucky' - it's an economical ode to his Oceans' (heist) films, set in West Virginia (the accent comes with it!). The film presents the hapless situation of Jimmy Logan (Channing Tatum) in a funny (but non-offensive) manner - he has been laid-off from his construction worker job at the Charlotte Motor Speedway because he apparently failed to disclose an injury he suffered during his once-promising football career. He shares an adorable bond with his little daughter Sadie - he teaches her the essence of John Denver songs ('Take Me Home, Country Roads' - a neat touch that makes a lot of sense subsequently). When Jimmy realizes that his child and ex-wife are moving soon to another city (rendering visits difficult and less likely to happen often), he, along with his amputee bartender-brother Clyde (a bad- ass Adam Driver) and hair-stylist/make-up artist sister Mellie (a sensuous Riley Keough) enlists the help of Joe Bang (and his brothers Sam and Fish - almost unrecognizable Brian Gleeson & Jack Quaid) to break into the Speedway's money-stashing system.
It is at this point that 'Logan Lucky' starts to appear like a bankrupt stepbrother to the Oceans' films - we have planning followed by execution. Craig's entry adds to the queerness - he consumes boiled eggs sprinkled with fake salt (laughed hard for that one - but we soon register the fact that even the slightest of touches attributed to characters add on to something bigger - for instance, watch out for how 'fake salt' plays a role in their heist later on). Not one scene amounts to filler in the film's run-time of 1h 56m, while the humor is unevenly sprinkled and pops up at the most improbable situations (there's a hilarious stretch where Joe expounds the chemical reaction involved in creating their 'explosive device, minutes before they set it off). Another favorite episode is the 'hostage situation' at the prison - George R.R Martin references apart from the jail-warden's "We don't" remarks, are bound to crack up even the toughest of nuts.
Riley Keough is the jaw-droppingly seductive equivalent of Eiza Gonzalez from 'Baby Driver' - only more resourceful and having a meatier role to play in the heist. Soderbergh's well-thought-out writing is supplemented by neat frames (captured and edited by himself under different aliases) and a pleasing soundtrack. Cameos from Hillary Swank, Macon Blair, Sebastian Stan, Seth MacFarlane and Katherine Waterston are subtly placed. The hillbilly accent (for once) comes across as a whiff of fresh air rather than a turn-off device.
Verdict: Surprise! Surprise! Soderbergh is back. And he's gonna be around for more.
0 of 0 people found this review helpful.
Was this review helpful to you?