Today: February 29, 2024

Logan Lucky

Logan Lucky is the film that tempted Steven Soderbergh out of retirement. It’s only fitting therefore that the film that convinced him be one that is firmly anti-establishment. Think Ocean’s Eleven written by The Coens with the sole purpose of sticking it to the man.

Down on their luck Jimmy (Channing Tatum) and Clyde (Adam Driver) Logan find themselves in need of money. When Jimmy loses his job at the local speedway he knows how to make a killing by robbing all the concession stands on race day. But to pull it off they will need explosives expert Joe Bang (Daniel Craig) who happens to be in jail. So they need to bust him out, by busting in, to break into the speedway to liberate the cash, all before Jimmy’s daughter’s pageant show.

On the surface Logan Lucky is Ocean’s Eleven populated by a bunch of rednecks who, vocally at least, appear too dumb to be able to pull on their own socks, let alone pull off a heist. But this is Soderbergh and convention be damned, for the most part. Like it’s more flashy, Las Vegas based, cinematic sibling Ocean’s Logan intentionally keeps us in the dark for much of its running time. The result means you’re always eagerly invested if fully aware that at some point the rug is going to be pulled from beneath us and the powers that be pursuing our heroes.

Soderbergh keeps momentum going through comedic timing rather than tension, this is never ‘will they pull it off’ but rather how many laughs are we going to have along the way. All the characters are likeable in one way or another and do a solid job of dispelling the cliche without breaking the humour.

Tatum carries the film well, a kind of schlubby Danny Ocean if you will, while Driver’s deadpan delivery is a perfect foil to Tatum’s unflinching belief that everything will be alright. Meanwhile it’s Craig who is relishing in playing against type, his bleached blonde Bang half camp half illtectual charmer is always a highlight. It’s testament to Soderbergh’s obvious pulling power that almost every role is filled out by an A-list actor, spotting them becomes as much part of the entertainment as the film itself.

A film about operating outside the system by a filmmaker always at his best by doing exactly that, Logan Lucky is predictable but always joyously entertaining.

Alex Moss Editor

Alex Moss’ obsession with film began the moment he witnessed the Alien burst forth from John Hurt’s stomach. It was perhaps ill-advised to witness this aged 6 but much like the beast within Hurt, he became infected by a parasite called ‘Movies’. Rarely away from his computer or a big screen, as he muses on Cinematic Deities, Alex is “more machine now than man. His mind is twisted and evil”. Email:

Previous Story

Movie Matchmaking – Love Actually – With Oodle Car Finance

Next Story

Star Wars: The Last Jedi

Latest from Blog


Memory (2023)

Memory is an exquisite American drama in the tender embrace of Michel Franco’s cinematic prowess.

Lone Star – Criterion Collection

Rarely in cinema do you come across a filmmaker as versatile as Lone Star writer-director John Sayles. Here is a man who cut his Hollywood teeth working for Roger Corman, got early

Paths of Glory

Paths of Glory is a curious beast. It’s a war film whose battles are mostly fought in a court room. It’s a Kubrick epic, that feels like a small, claustrophobic indie movie.


Monolith is a film that delights and surprises in equal measure. This low-fi, slow burn thriller is part science fiction, part social commentary, with just the right amount of bumps and jumps

Billions Complete Series Unboxing

As Paul Giamatti remains a frontrunner in the race for this year’s Academy Award for Best Actor with his beautifully layered performance in The Holdovers, there’s no better time to catch up

Beverly Hills Cop Trilogy Unboxing

The heat is on. Eddie Murphy’s beloved street-smart Detroit cop Axel Foley is coming back to our screens in the highly-anticipated fourth entry in the Beverly Hills Cop series this summer, so
Go toTop

Don't Miss


It’s taken 40 years for Sparks to become an overnight


Jim Jarmusch sets his directorial brush on fire to paint