What has always been Steven Soderbergh’s most consistently impressive attribute as a filmmaker is his capacity to analyze a singular cultural group and deconstruct the classist knowledge he has for the sample. Far and away the most ambitious – although inevitably failing – aspect of this is the way he starts off by reveling in the stereotypes within our society. Set in North Carolina, he goes on to develop his characters outside the surface-level judgment one picks up after first becoming acquainted. The director certainly has a heartfelt understanding for his ensemble but lacks the ability to gradually break these people outside of the shell he establishes themselves in the beginning.
The certain level of ingenuity that the heist that Logan Lucky revolves around manages to incorporate is unable to balance the foundational tone that it secured from the start. While admittedly operating as a pleasant hiatus from the core narrative, the more overtly comedic segments stand out in such a conspicuous fashion. The way the story periodically transitions between its two moods throws off its mojo in such a salient behavior to point where there’s no reason to warrant any defense for these portions.
It’s customarily rejuvenating to see a heist film carry out past their robbery, as it seems like all too rare of an occasion. Regrettably, Logan Lucky starts to unravel in this almost contradictory manner. It demands a state of disbelief from the audience in regard to the newfound perception that’s unveiled. The original understanding of the entanglement of events becomes reframed in a graceless musical montage that reframes the observations of what was initially telegraphed. A vague sense of completeness is given off right before our thought is entirely redirected, which creates, even more, frustration on the part of the viewer. Soderbergh fails to present a feeling that a substantial continuation is in the cards, which just sets off the film’s pacing for the remainder of its pesky runtime.