Cast: Channing Tatum, Adam Driver, Seth MacFarlane, Riley Keough, Katie Holmes, Katherine Waterston, Dwight Yoakam, Sebastian Stan, Hilary Swank, Daniel Craig
Director: Steven Soderbergh
Writer: Rebecca Blunt
Steven Soderbergh is no stranger to heist movies. In fact he’s probably the one who sets the standard for other filmmakers. His most notable contribution is, of course, the Ocean’s trilogy, a series of slick, stylish movies that brought together an ensemble of colourful characters to pull off a string of increasingly impossible capers. These movies, while far from Soderbergh’s best work, were suspenseful, entertaining flicks that rose above the regular standard by virtue of his expert direction. One of the staples of the heist movie is the big reveal, the practice of keeping the audience in the dark about what’s really going on before (surprise!) revealing that the shootout between Paul Newman and Robert Redford was actually part of the plan. Soderbergh did this by playing around with perception, showing some, but not all, of what was happening and then revealing that there was a bigger plan all along. Soderbergh brings that same direction here to create what one character describes as “Ocean’s 7-Eleven”.
Logan Lucky is set far away from the classy, sophisticated city of Las Vegas in the rural, southern land of North Carolina. Here lives Jimmy Logan (Channing Tatum), a blue-collar worker who is fired from his construction job due to a leg injury he sustained in high school. His daughter Sadie (Farrah Mackenzie) lives with his ex-wife Bobbie (Katie Holmes), but they’re planning on moving to Lynchburg soon which will make visitations harder for Jimmy. He concocts a plan with his wounded veteran brother Clyde (Adam Driver) and their rough and tough sister Mellie (Riley Keough) to rob the Charlotte Motor Speedaway where Jimmy was laid off. To pull this off they need the assistance of Joe Bang (Daniel Craig), an explosives expert currently serving time behind bars, and his two redneck brothers, one of whom is apparently a computer expert who knows “all the Twitters”. Thus a plan goes underway to break Joe out of prison for a day and steal the money from the stadium vault during one of NASCAR’s biggest and most profitable races.
The genius of setting the movie in this rustic backdrop with these unpolished characters is that we never really know how smart or dumb they really are, which plays right into Soderbergh’s perception game with us. There are enough silly, comedic moments with these unruly characters for us to think that their plan will end up going wrong in a million different ways, but that just makes us all the more curious to see how their elaborate plan with its several moving parts will actually work out. The Logans and their comrades are a far cry away from the cool, suave likes of Danny Ocean and his gang; in fact they would not be at all out of place among the dim-witted misfits you often get from the Coen Brothers’ films like O Brother, Where Art Thou? Watching them execute a convoluted heist in the Soderbergh tradition is as fascinating as it is entertaining.
Logan Lucky is so-titled because of what Clyde refers to as the Logan Family Curse. Much like those hapless Coen Brothers characters whose prospects are thwarted time and time again by events beyond their control, misfortune seems to haunt the Logan family at every turn (or so Clyde believes). Between himself and his brother they have six working limbs and they are descended from a line of Logans whose lives have never gone the ways they’d hoped. Thus there is some additional suspense there as we wait to see whether the family curse will strike while their heist is underway. The screenplay as penned by Rebecca Blunt (who many suspect is a pseudonym for Soderbergh’s wife Jules Asner) does a very good job of keeping this idea present in the audience’s mind without banging them over the heads with it. Everything that transpires does so with the sufficient motivation and fluidity for the whole story to feel organic. Everything we see happens for a reason and, in the end when the carpet is inevitably pulled out from under us, all the missing pieces that get revealed fit in just right.
Like Ocean’s Eleven, Logan Lucky is neither the deepest nor the most innovative movie Soderbergh has ever made. There are some moments that are genuinely affective and impactful, the most notable of which takes place during Sadie’s child beauty pageant (of all places!), but otherwise the movie is simply good fun. Most of the performances are enormously entertaining, especially Daniel Craig’s who seems like such a grump in his role as Bond that it’s quite refreshing to see him having a genuinely good time. There are some characters like Hilary Swank’s FBI Agent and Katherine Waterston’s medical worker who don’t get enough time to make an impression and Seth MacFarlane can be pretty distracting (silly, fake English accents seem to be a thing with Soderbergh), but they don’t really drag the movie down. Logan Lucky is the kind of engaging, suspenseful movie that Soderbergh knows how to do well and is well worth a watch.