Is movie Universe creation approaching a possible saturation and breaking point? We’re deluged with content on the movie and television screen and the market leader, Marvel, is fast approaching the point where newcomers could be too intimidated by the breadth of their universe. Meanwhile the other studios are racing to reach that same breadth with mixed success.
So, it is tempting, though not necessarily correct (yet) to claim there is a sort of reaction going on whereby established filmmakers are interested in making standalone stories. Examples include Shane Black’s hilarious and madcap The Nice Guys, Edgar Wright’s Baby Driver and, this, Steven Soderbergh’s return to the heist film. There is also growing speculation that DC might capitalise on this idea by making standalone films out of their properties (i.e. the rumoured Scorsese Joker origin film).
Like with Wright in Baby Driver, Logan Lucky feels like an act of escapism for Soderbergh. It is essentially a return to the well that was Ocean 11 overlaid with a different setting, target and cast of character tropes.
The movie is heavily stylised but feels a little too bright. There is no hint of the southern gothic which often makes southern texts much more interesting and unique. Beyond the accents actors adopt this movie could, really, have been set almost anywhere in America (or even Australia with a few changes), the setting is horribly underutilised. There is not quite enough of anything, not quite enough car racing or stunts, not quite enough stakes, not quite enough character, and not quite enough reveal at the end. Unlike in Oceans 11 players in the heist are essentially all amateurs. They have no established set of skill and so the heist is almost unbelievable and somehow anti-climactic. There was an extra motivation in Ocean 11, revenge, which helped explain the film whereas the characters of Logan Lucky avoid and decry any sort of motivation.
Adam Driver and Channing Tatum could perhaps have been playing opposite roles to have suited their acting abilities better while, Daniel Craig is fun because it’s fun seeing him ham it up and it works in this movie but is part of the problem as much as it is a boon. Soderbergh avoids easy beats and the painful American movie second act interpersonal conflict and, for all of this movie’s problems, many also shared by Baby Driver, it is still fun simply going to see a well-made film not connected to another movie or necessitates staying around after the credits for a preview of what is to come.