Lucky Day – 90’s Generation

From the first second of the movie, his name is already all over the screen, the film is by Roger Avary. He is back, after writing Pulp Fiction (1994) and Jacky Brown, the brilliant director of Killing Zoé (1994) and The Rules of Attraction (2002) indubitably the best ret Easton Ellis’ adaptation. Avary knows how to tell the stories of rich and plural characters with attracting projects halfway between Tarantino and Guy Ritchie (Snatch). While his buddies were shining during the New Hollywood, he went from damp squib to uncredited scenarios, even went directly to jail after a deadly car crash while intoxicated.

So he is back with a screenplay that could hold on an used tissue: Red (Luke Bracey, Point Break reboot’s Johnny Utah) is released from jail, willing to put his hands on the money he hid. But Luc (Crispin Glover, the father in Back to the future), a dangerous psychopath, wants to avenge his brother killed during the hold up. Secondary parts surprise more with their actors than deepness, in this trivial film. The Frenchies Nadia Fares as a Mexican nanny dubbed in the original version, Tomer Sisley as and excited hilterian like bartender. Even Marc Dacascos (staring in Christope Gans’ Crying Freeman, also written by Avary) didn’t have the time to hit a Low-Kick…

And he is not the only one to miss his ending: nothing works in Lucky Day. Long and useless monologues and overindulgent brutal scenes even knocks you down. You then remember Once Upon a Time…in Hollywood and its last and only violent scene. Meanwhile, Avary seems to use the same old tricks from the last century.

We could salute the punchy direction or the catchy soundtrack, but the overexploited story keeps you from doing so. Some might see it as a 90’s homage, elegant try not to overwhelm this already outdated dud.