Director Natasha Kermani is onto an intriguing germ of an idea with Lucky, a message movie masquerading as a thriller, but the execution is simply not there. The film stars Brea Grant as May, an author of a feminist-forward business series, who is assaulted nightly by a masked man. Her distant husband is bizarrely disinterested in the attacks and the police treat them as almost meaningless happenstance. Kermani obviously wants to explore the notion that women are confronted with a world constantly at odds with female safety, where public and private spaces alike are feeding grounds for male predators, and instances of assault are met with apathy and assigned a normalcy that’s both disturbing and omnipresent. Between unconvincing performances (from Grant down through the supporting cast list) and a repetitive cycling of events with fails to capitalize on the threat of invasion of space in creative and varied ways, Lucky ends up being an idea in search of a movie; the mere shadow of something potentially interesting. (C-)
*Shudder has asked critics to only run capsule reviews of ‘Lucky’
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By: Matt Oakes
Started blogging about film in college when the university paper wouldn’t have him. Dislikes your consensus film Twitter favorites. Devotee of horror movies that make him die a little inside. Catches films at festivals when he can. Proud SFCS and OFCS member and Tomatometer-approved critic. Editor-in-chief of Silver Screen Riot.
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