I searched and didn't see a thread for this yet. The embargo is up for Logan Lucky, and reviews are quite positve so far.
UPDATED: Aug 19, 2017
Rotten Tomatoes (131 reviews, 93%, 7.5 avg): https://www.rottentomatoes.com/m/logan_lucky
Metacritic (78 metascore, 47 reviews): http://www.metacritic.com/movie/logan-lucky
Trailer: https://www.youtube.com/watch?v=aPzvKH8AVf0
Some review quotes:
Owen Gleiberman: http://variety.com/2017/film/review...ng-tatum-adam-driver-daniel-craig-1202504091/
Todd McCarthy: http://www.hollywoodreporter.com/review/logan-lucky-review-1023775
Andrew Lowry: http://www.empireonline.com/movies/logan-lucky/review/
UPDATED: Aug 19, 2017
Rotten Tomatoes (131 reviews, 93%, 7.5 avg): https://www.rottentomatoes.com/m/logan_lucky
Metacritic (78 metascore, 47 reviews): http://www.metacritic.com/movie/logan-lucky
Trailer: https://www.youtube.com/watch?v=aPzvKH8AVf0
Some review quotes:
Owen Gleiberman: http://variety.com/2017/film/review...ng-tatum-adam-driver-daniel-craig-1202504091/
Steven Soderbergh's "Logan Lucky" is a high-spirited, low-down blast. It's a let's-rob-the-racetrack heist comedy set in that all-American place that even rednecks would have no problem calling redneck country: the land of NASCAR and child beauty pageants, spangly long fingernails and roadside biker-bar brawls, and — these days being what they are — chronic unemployment and spiritual stagnation. (Hey, nothing's perfect.) The script, by Rebecca Blunt (it's her first, and it's a beauty), exploits the Southern gift for turning something as basic as a series of freeway directions into a tall tale. And Soderbergh, directing his first feature in four years (his last one was the superb HBO Liberace biopic "Behind the Candelabra"), plays, with an invisible wink, off the natural-born comedy of mile-wide drawls that veer from the charmingly folksy into a kind of good-ol'-boy theater (lying about your alibi, it turns out, is even more effective when you do it from behind the armor of a chicken-fried accent).
"Logan Lucky" turns out to be a sharply observant tall tale all its own, a movie that taps into the shifting dynamics of Trump country (though the T-word itself is never mentioned). After a prologue that features the twin fetishes of John Denver nostalgia and pickup-truck repair, the action gets set in motion when Jimmy Logan (Channing Tatum), a beefy divorced dad who lives in a tin-walled shack in Boone County, W.Va., loses his latest hard-hat gig, all because someone from human resources spied him walking with a slight limp, which could signal a pre-existing condition, which could prove actionable. Actually, it's just an old football injury, and yes, he should have mentioned it on his application form (though in that case he probably wouldn't have gotten the job). Yet the timely corporate injustice of this here-today-gone-tomorrow layoff tells you all you need to know about the prospects for Jimmy's future: There are none.
Todd McCarthy: http://www.hollywoodreporter.com/review/logan-lucky-review-1023775
Blunt's script is full of giddy inventions and gives the actors some good stuff to play with, but there is the sense that one more serious pass at it might have made it a bit tighter, more spirited and authentically low-down. A few moments, particularly early on, also betray a whiff of condescension to the characters.
The actors seems to be having a great time, however, and this proves contagious. Craig, Tatum and MacFarlane all find good comic grooves and stay in them. Driver's reserved sincerity is perhaps intended as an underplayed contrast, but in practice just means that the actor doesn't come off as winningly as do his co-leads. Hilary Swank pops in late-on as a special agent who tries to get to the bottom of the heist, while Katherine Waterston is wasted in a nothing part.
Still, this is a good-times film that doesn't put on airs, dress to impress or pretend to be something it isn't. It just aims to please, and does a pretty good job of it.
Andrew Lowry: http://www.empireonline.com/movies/logan-lucky/review/
Heist films are all about the process, so it would be a crime to give too much away, suffice to say that Soderbergh and writer Rebecca Blunt are careful to dole out enough info to make sure we can follow what's going on, but are equally careful to keep a few surprises to drop along the way.
If this is all sounding a little Out Of Sight getting it on with the Ocean's trilogy and their baby growing up in Trump country, that's because it is. There's an unavoidable feeling that Soderbergh is playing the hits here — although it's odd how much a character-driven crime flick is now such a rarity it feels like an exercise in turn-of-the-millennium retro.
More irritatingly, as with a lot of Soderbergh (Side Effects, The Good German), there's the lingering suspicion we're another draft or so away from something special, but his frenetic working pace didn't allow for it. Seth MacFarlane certainly wasn't given enough time to perfect his ‘English' accent. But a late-entering Hilary Swank as an FBI agent (with Blue Ruin's Macon Blair on sidekick duty) goes nowhere, as does an extended cameo from Katherine Waterston, who shows up to make a sledgehammer point about the US healthcare system only to disappear once she's done so. And while not everything has to have a bow on it, Logan Lucky doesn't quite have the impactful ending the build-up deserves. But it's such an enjoyable ride to get there, that can be forgiven.