Logan Lucky Movie Review (2. It's hard to imagine a more American caper comedy than Logan Lucky. If the American ideal stands for anything, after all, it's this: Success isn't a matter of luck. Anyone—absolutely anyone—can make it big if they're willing to dream extravagantly, work hard and take some mighty big risks. Jimmy is just such a man. He's suffered his share of hard knocks. But he knows opportunity when it comes knocking, and he's not afraid to answer the door.

He—like Thomas Edison or Henry Ford—had an idea. And he was willing to plan, work and persevere to see it through. But if there's one thing we Americans appreciate more than seeing Americans work hard and succeed honestly, it's watching them work hard and succeed dishonestly. At least in some of our favorite stories, that is. We enshrined Jesse James and Billy the Kid in dime- store novels, ate up the exploits of John Dillinger and Bonnie and Clyde. Our cinematic history is filled with heroes who take it from The Man and … well, keep it for themselves.

Logan Lucky gives us a likeable, handsome, blue- collar worker who never catches a break and loves his kid. The movie kicks him and kicks him some more and then, finally, it gives him a chance to pilfer a bit of the American dream for himself. James White Full Movie Online Free.

Moreover, it presents the caper as a victimless crime—heavy on clever, smile- worthy twists and light on malicious greed or desire. No one supposedly gets hurt in this "harmless" escapade. Why, the Logans even leave behind most of the money, and the Speedway's insured for the rest. No harm, no foul, right? Such is the corrosive reasoning behind such movies. Now, I don't have anything against a clever caper movie, and this one's pretty clever. But we must remember the myth such films are built upon.

Logan Lucky and similar movies position their heroes as American Robin Hoods: They take from the haves (in this case, the massive speedway and its phalanx of insurance companies) and give to those who could use—deserve, really—the money. But the money being taken doesn't just appear out of nowhere, like a pot of gold under a rainbow.

It comes from folks like you and me—people who may struggle to pay the grocery bill from time to time, people who grouse about our insurance premiums always going up. Films like this one rarely represent those kind of realities accurately.

Instead, Logan Lucky gives us Jimmy Logan as its hero—a decent, hardworking soul who loves his daughter and doesn't want to take advantage of anybody. Not really. No harm, no foul, right? But when I imagine Jimmy Logan talking to his daughter about his Charlotte Speedway heist, I wonder … what would he tell her? That it's OK to lie?

Now, I don't have anything against a clever caper movie, and this one's pretty clever. But we must remember the myth such films are built upon. Read the Empire review of Logan Lucky. Find out everything you need to know about the film from the world's biggest movie destination.

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Steal? It's forgivable as long as your heart's in the right place? That the people you're stealing from have plenty of money already? In the movie's spiritual section, I mentioned how prospective plotters Sam and Fish Bang originally refused to join the gang, given how they were reformed and all. We need a moral reason, they said. But as soon as they were given one—no matter how flimsy—they were in.

The movie, perhaps intentionally, apes Sam and Fish. Thieving is wrong. We all know that. But Logan Lucky gives us a moral justification that, at least superficially, excuses it a bit. And it expects us, like Fish and Sam, to smile and nod and go with the flow.

Logan Lucky review: 'Dismal heist movie'Logan Lucky                                              Cert 1. A                     1hr 5. Rating: Four years ago, Steven Soderbergh, the American film- maker who became rich and famous thanks to the likes of Magic Mike and the Ocean’s trilogy, caused much Hollywood wailing and gnashing of perfect, peroxide- bleached teeth when he announced he was retiring as a director of feature films. So there was great excitement when he recently confirmed he was returning to film- making and doubly so when it was revealed that not only would Logan Lucky be a heist movie very much in the tradition of the hugely popular Ocean’s films, but that it would also star Daniel Craig – 0. American South. Yes sirree, as Miss Moneypenny surely never said. There was much excitement when it was announced that Daniel Craig would star in the film, but even a bottle- blond Bond (above) can’t save this dismal heist movie. Watching the result, however, you’re left with the distinct impression that while Soderbergh may have physically turned up on set, he actually didn’t come out of retirement at all. Or hardly.

Yes, it has a few funny moments and one or two nice lines, but this is an unfinished- feeling picture that stubbornly refuses to burst into life and certainly never acquires that rollicking momentum that made the Ocean’s films such fun. ‘Slow burner?’ I optimistically scribbled in my notebook after 2. Some 9. 9 wearying minutes later, I crossed out the question mark. Soderbergh is on record as seeing this as the antithesis of an Ocean’s movie, a point he later unsubtly underscores by having a newsreader refer to the ‘Ocean’s 7- 1. Nobody is smart, nobody is glamorous and certainly nobody looks like George Clooney. Instead, we slowly meet the good ol’ Logan boys of West Virginia – Jimmy (Channing Tatum), a once- promising high- school footballer who wrecked his knee and has been walking with a limp and struggling to hold down a job ever since, and Clyde (Adam Driver), a slow- talking veteran of the Iraq War who these days runs a bar despite the loss of what appears to be an arm but he insists is only a hand.

That’s this film’s idea of a running joke. We slowly meet the good ol’ Logan boys of West Virginia – Jimmy (Channing Tatum, above), a once- promising high- school footballer and Clyde (Adam Driver, above), a slow- talking veteran of the Iraq War. But it’s when Jimmy loses his job as a miner employed to shore up the old tunnels threatening to undermine the Charlotte Speedway track that an idea is born. The brothers even have a codeword for it. Did you just say ‘‘cauliflower’’ to me?’ asks Clyde, in a sing- song accent that, like so much on show here, is distinctly over- the- top. The last time you said that word for me I was sent down for six months.’But ‘cauliflower’ it is. The boys are going to rob the speedway track on its busiest day of the year, but first they need the best vault- blower in the South.

That’ll be the aptly named Joe Bang (Craig) but a) he’s still in jail and b) if they can bust him out, he’s going to insist they recruit his dim- witted brothers too. The boys are going to rob the speedway track on its busiest day of the year, but first they need the best vault- blower in the South. That’ll be the aptly named Joe Bang (Craig, above)The gang may finally be all here but the film, with its obvious echoes of the Coen brothers’ O, Brother Where Art Thou?, disappointingly is not. It’s not clever enough, funny enough or quick enough – the pace slowed by laboured comic cameos from the likes of a particularly tiresome Seth Macfarlane as an arrogant British racing driver and Hilary Swank as an FBI detective. Things get progressively less interesting as the robbery appears to go wrong, and by the time we learn what actually happened, I no longer cared nor properly understood. Not so much a slow burner as a damp squib.

SECOND SCREEN   American Made (1. Rating: Detroit (1. Rating: American Made (1.

It features a familiar yet far- fetched- feeling story, an unlikeable central character and Tom Cruise with that eternally boyish thing of his dialled up to about 1. You’re 5. 5, Tom, for goodness sake. But for all its potentially annoying features, and if you’re not totally up to here with films about the Medellin drugs cartel, there’s not actually a whole lot wrong with it. Loosely based on a true story, it sees Cruise (pictured with Sarah Wright below) playing Barry Seal who, back in the Sixties, was best known for being the youngest pilot working for Trans World Airlines but went on to carve out an extraordinary career as a drug- smuggler and CIA informant. Loosely based on a true story, it sees Cruise (pictured with Sarah Wright above) playing Barry Seal who, back in the Sixties, went on to carve out an extraordinary career as a drug- smuggler and CIA informant. Watch Calendar Girls Online Idigitaltimes here. Most accounts of his life seem to suggest that the drug- smuggling came first but here – perhaps to spare us the sight of Cruise playing an out- and- out bad guy – he’s recruited by the CIA straight from the now- defunct TWA. The mysterious ‘Schafer’ (Domhnall Gleeson pictured below) has busted him for a little sideline in smuggling cigars for Cuban emigrés, so to avoid losing his job and possibly a spell in jail, the least Barry can do is agree to run photographic reconnaissance missions over Central America. But when he runs out of fuel the wrong side of the border, he is bundled up by thugs working for what will soon be known as the Medellin cartel.

One of Pablo Escobar’s lieutenants has an intriguing proposition. How would he like to fly cocaine back into the US? Seal shakes his head.

At $2,0. 00 a kilo? Suddenly they have a deal.

But while the Colombian cartel is fully aware that Barry is working for the CIA, does the CIA know he’s become a drug- smuggler? It’s never quite clear, but they certainly turn a very blind eye as, very soon, Barry is making more cash than he knows what to do with. At his new home in Arkansas – apparently paid for by the CIA and complete with its own airport – he has it stuffed into suitcases, wardrobes and even buried in the garden. The mysterious ‘Schafer’ (Domhnall Gleeson pictured above) has busted him for a little sideline in smuggling cigars for Cuban emigrés. This is all pretty familiar territory with the likes of Blow (2. Savages (2. 01. 2), Sicario (2. The Infiltrator (2.

Netflix series Narcos. Clearly aware of that, Cruise and director Doug Liman join forces to play it slightly for laughs which, given that this Reagan- era tale is tiptoeing towards the labyrinthine tangle that was the Iran- Contra scandal, is probably no bad idea.

The result is an easy old watch that doesn’t stretch Cruise one jot and gives him plenty of opportunity to combine floppy fringe and flashes of pearly whites to familiar effect. But hey, he’s built a career around that and, while this is miles short of his best work, I can’t see it bringing that to a sudden end. Detroit (1. 5) arrives here with so much going for it. It’s directed by Kathryn Bigelow, maker of both The Hurt Locker and Zero Dark Thirty and still the only woman to win an Oscar for Best Director. But even more important is its timeliness.

This is a film set amid the Detroit race riots of 1. Trump- era America – police brutality against black communities, institutional racism and rampant Right- wing bigotry. This is a film set amid the Detroit race riots of 1. Trump- era America. Algee Smith (far left), as Larry in Detroit.