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Lucky Them may not quite live up to Toni Collette's bravura starring performance, but it's certainly elevated by it.
All Critics (39)
| Top Critics (17)
| Fresh (30)
| Rotten (9)
A study of the perils of nostalgia, Megan Griffiths' Lucky Them itself comes off as a throwback to an earlier era of low-key, whimsical US independent cinema. This is not a bad thing, considering the talents of the cast.
The plot executes an impressive twist at the end and Collette makes such a swashbuckler out of Ellie that you're inclined to indulge her in whatever she chooses to do.
Has any movie made during the past 10 years not presented female journalists as sluts?
A clever, fun, and affecting romantic dramedy about love and rock-and-roll.
This pleasant but eminently forgettable indie comedy is the sort of thing that makes you wonder whether the big names in the cast were having serious career problems, doing someone a favor, or just had a few weeks to kill.
"Lucky Them" has that rare gift: It leaves its audiences warm and happy, as the best romantic comedies do.
I feel like I've met every single character in this movie multiple times.
Lucky Them is an emotionally satisfying journey, subverting expectations of the charming road movie.
Lucky Them touches on the price of fame, and conjures up memories of Kurt Cobain, Jeff Buckley and Elliot Smith. But, more importantly, it's about those left behind and what they face in not knowing what happened to their loved ones.
Griffiths helms the feature with low-key fondness and a lived-in atmosphere, the camera caressing the Seattle spaces the story calls home, and lingering lovingly over the more rural places Ellie and Charlie venture to.
[Collette] and co-star Thomas Haden Church elevate this no-frills but intelligent story into something well worth seeing.
Wachtel initially wrote the script for TV, and it shows -- long-term plot lines are teased at, only to be swiftly resolved without the chance to play out.
There's a lot of cliches present here, but thankfully the film knocks most of them down in the end to ensure it's main character doesn't have too happy of an ending. Collette's charming as ever and Haden Church gives one of his weirder performances (which I do mean as a compliment).
Revisit your past. Rewrite your future.
A very so so you might like it or not Film! The film feels like it makes some sudden stops and gos, with overly convenient plot turns, and a lot of side events that clutter the film, but don't quite seem to really add enough to the story to justify their inclusion, and there could've been a lot more included in there to flesh out Ellie's search for Matthew. I do like, though, that ultimately the film becomes more about if the search is worth it or not, or if ten years is long enough to let the past remain in the past or not. It's an interesting theme, and while I think the search isn't conducted consistently, thematically the film is always exploring if that search is worth it.
More interested in partying and flirting with young musicians than work, veteran rock journalist Ellie Klug (Toni Collette) has one last chance to prove her value to her magazine's editor: a no-stone-unturned search to discover what really happened to long lost rock god Matthew Smith, who also happens to be her ex-boyfriend. Teaming up with an eccentric amateur documentary filmmaker (Thomas Haden Church in a delightful performance), Ellie hits the road in search of answers.
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