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Luckytown
Trimark // R // July 17, 2001
List Price: $24.99 [Buy now and save at Dvdempire]
THE STRAIGHT DOPE:
I have a theory about what a good movie should be. There are many exceptions to this, but I feel that if a movie is about something, then it should really be about that thing. If a character is a boxer then the film should fetishize the rituals of boxing the way Raging Bull does. If the movie is called Rear Window then that window should be integral to every scene. Once you have defined your film within a parameter like that you can then proceed to any number of destinations. It's always a disappointment when a movie loses its way and ends up not being about what it's about; Boogie Nights and Dead Presidents spring to mind, as does the non-New York finale of Die Hard With a Vengance. For a film like Luckytown to be about Las Vegas, to feature gamblers as three of the main characters, and to hardly show any gambling (only including a few short poker games that don't really get inside the game) reveals a lack of imagination and commitment. Why would someone sit down and write the script for Luckytown? It is so cliched and obvious that all I'll have to do is describe the basic set-up and you'll know everything that happens. Here goes: Lidda (Kirsten Dunst) feels rejected by her uncaring mom and misses the dad she never knew so she decides to high-tail it for Las Vegas in search of her pops (James Caan). On the way she picks up the improbably named Colonel (Vincent Kartheiser) who just happens to have a gangsta-wannabe after him and also happens to be a crack poker player. In Vegas, Lidda's dad, Charlie, beats his old poker rival Tony (Robert Miano) out of a suitcase full of cash, thereby embroiling himself in a conveniently dangerous situation. Poker is played, reunions take place, and strip clubs are visited. The sub-Tarantino / P.T. Anderson plotting is only highlighted by the occasionally super-obvious symbolism (Is it even symbolism to have two characters coincidentally reteam at the Second Chance Motel?) The film also features Luis Guzman and, in a tiny cameo, Theresa Russell. None of the actors embarrass themselves, but there isn't really anything here for them to do. It's a little depressing to see Dunst in the inconsistently written role of the certifiably insane young Lidda. A talented and promising actress, Dunst usually lands in interesting films (The Virgin Suicides, Dick) or at least movies that are trying to do something different (Bring it On). Here, however, she is only fodder for a script of coincidences and tired gun fights. The fact that she ends up stripping at Tony's Dollhouse in the final scenes serves as a reminder of the dearth of good roles for actresses out there. Luckytown was directed by Paul Nicholas, whose most notable credit previously was 1983's Chained Heat, the Linda Blair prison exploiter. He doesn't seem to be on a quest for better material and the shallow, violent Luckytown is, unfortunately, business as usual. VIDEO:
The widescreen non-anamorphic video looks sharp and colorful. Even if the above-the-line team sat this one out, the technical crew did a fine job. Vegas is displayed in all its neon glory and much of the imagery has energy and beauty. AUDIO:
The Dolby Digital 2.0 audio track is fine. Nothing distinguishes it but the dialog is clear and the music sounds good. Overall a good effort. There are also English, Spanish, and French subtitles. EXTRAS:
A trailer. FINAL THOUGHTS:
There is definitely a market for this kind of noiry B-movie, even if the story is lazy. Fans of Dunst and Caan may find themselves briefly entertained but will forget what happened in Luckytown before the credits even start to roll. E-mail Gil at [email protected]
I have a theory about what a good movie should be. There are many exceptions to this, but I feel that if a movie is about something, then it should really be about that thing. If a character is a boxer then the film should fetishize the rituals of boxing the way Raging Bull does. If the movie is called Rear Window then that window should be integral to every scene. Once you have defined your film within a parameter like that you can then proceed to any number of destinations. It's always a disappointment when a movie loses its way and ends up not being about what it's about; Boogie Nights and Dead Presidents spring to mind, as does the non-New York finale of Die Hard With a Vengance. For a film like Luckytown to be about Las Vegas, to feature gamblers as three of the main characters, and to hardly show any gambling (only including a few short poker games that don't really get inside the game) reveals a lack of imagination and commitment. Why would someone sit down and write the script for Luckytown? It is so cliched and obvious that all I'll have to do is describe the basic set-up and you'll know everything that happens. Here goes: Lidda (Kirsten Dunst) feels rejected by her uncaring mom and misses the dad she never knew so she decides to high-tail it for Las Vegas in search of her pops (James Caan). On the way she picks up the improbably named Colonel (Vincent Kartheiser) who just happens to have a gangsta-wannabe after him and also happens to be a crack poker player. In Vegas, Lidda's dad, Charlie, beats his old poker rival Tony (Robert Miano) out of a suitcase full of cash, thereby embroiling himself in a conveniently dangerous situation. Poker is played, reunions take place, and strip clubs are visited. The sub-Tarantino / P.T. Anderson plotting is only highlighted by the occasionally super-obvious symbolism (Is it even symbolism to have two characters coincidentally reteam at the Second Chance Motel?) The film also features Luis Guzman and, in a tiny cameo, Theresa Russell. None of the actors embarrass themselves, but there isn't really anything here for them to do. It's a little depressing to see Dunst in the inconsistently written role of the certifiably insane young Lidda. A talented and promising actress, Dunst usually lands in interesting films (The Virgin Suicides, Dick) or at least movies that are trying to do something different (Bring it On). Here, however, she is only fodder for a script of coincidences and tired gun fights. The fact that she ends up stripping at Tony's Dollhouse in the final scenes serves as a reminder of the dearth of good roles for actresses out there. Luckytown was directed by Paul Nicholas, whose most notable credit previously was 1983's Chained Heat, the Linda Blair prison exploiter. He doesn't seem to be on a quest for better material and the shallow, violent Luckytown is, unfortunately, business as usual. VIDEO:
The widescreen non-anamorphic video looks sharp and colorful. Even if the above-the-line team sat this one out, the technical crew did a fine job. Vegas is displayed in all its neon glory and much of the imagery has energy and beauty. AUDIO:
The Dolby Digital 2.0 audio track is fine. Nothing distinguishes it but the dialog is clear and the music sounds good. Overall a good effort. There are also English, Spanish, and French subtitles. EXTRAS:
A trailer. FINAL THOUGHTS:
There is definitely a market for this kind of noiry B-movie, even if the story is lazy. Fans of Dunst and Caan may find themselves briefly entertained but will forget what happened in Luckytown before the credits even start to roll. E-mail Gil at [email protected]
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