With Logan Lucky, Soderbergh
and screenwriter Rebecca Blunt
appear to be paying homage to
the redneck exploitation movies
of the ‘70s - which depending
on budget, usually starred either
Burt Reynolds or Bo Hopkins -
but the cartoonish portrayal of
rural American life comes off as
patronising at best, offensive at
worst. The male characters are
little more than a series of ma-
cho tics, while the women, all
big hair and tight skirts, serve as
background decoration, prov-
NJ STAGE 2017 - Vol. 4 No. 8
ing female screenwriters are just
as capable of writing awful roles
for their gender as their more
numerous male counterparts.
Other characters, or rather cari-
catures, drift around the periph-
ery of the narrative, none more
irritating than Seth MacFarlane
as a cockney energy drinks mag-
nate whose role in the drama I’m
still trying to make sense of.
As a heist movie, Logan Lucky
fails to create enough conflict,
with the Logans’ plans going
off with nary a hitch. What few
INDEX
NEXT ARTICLE
88