Please disregard that review by an IMDb user who claims to "Crave intellectual depth" but is clearly unable to recognize it, and cannot see beyond the superficial.It proves what Lucky says in the film: "I always thought that the one thing we could agree on is what we were looking at...but that's bullshit, because what I see isn't what you see."Mr. Stanton's powerful, truth-telling performance is at turns heartbreaking, uplifting, hilarious, and inspiring.Please do yourself a favor and see this very special film.
Five bags of popcorn (by Rosebud815)
In terms of humanity, Lucky is the simplest story I've ever connected to. Seeing it in theaters was one of the most emotional experiences I've ever had watching a movie. Lucky walks the thin line between being an exploration of death and a celebration of life, because it manages to be both. Lucky is a character that at first couldn't care less about his mortality. He didn't think about it because he didn't have to. But when the effects of old age start to set in, Lucky can't help but see his own death everywhere. With the onset of this fear, he learns to embrace death <more>
- "realism", as said in the movie. However, this process was not so easy, as he first had to let go of his anger to understand the beauty and sadness in the experience of his whole life up until his old age, and everything he has yet to be a part of. Many try to claim that movies "used to be simpler" and "had better stories" due to less technology, but I'll be damned if they aren't easier to connect to now than ever. Lucky follows suit of movies, loosely like "Manchester by the Sea", and greatly like "Paterson" which both came out within the past year. These movies pay homage to real life by stripping the substance down to normal human experiences that most end up having to face, and everyone can at least recognize. In particular, Lucky is that of accepting how everything in life will go away in time, so all that can be done is to experience it. This ephemeral experience of life is both beautiful and sad, as this movie is both about life and death. The reason that a movie like Lucky hit me so hard was because it threw nothing in my face. I was so immersed in what felt like real life to me that it was as sudden as extreme as life can be when all the sudden it got so emotional, like in the bar. Lucky's stance in the bar, letting go and explaining his stance as a human being was one of the most emotionally moved I've ever been by a single scene. Again, this is because everything develops so naturally, and because I personally connect with what Stanton's character has to find his way back to after 90 some years of age - being able to smile. While all aspects of the filmmaking delivered this effect, I especially recognize the script and Stanton's performance for their organic emotional accomplishment within the story.To me, Lucky owns up to the internal and external unknown. It represents the ongoing process of learning how to smile in a life that will continue to break you down.
The older you are, the more you will see in this movie. (by tomindc-54452)
When born actors live long enough to perfect their talent, and they share the insight that their characters experience in life, you get a masterpiece. But, like the Mona Lisa, viewers perceive nuance as THEY age; even though the painting ITSELF remains unchanged. What cannot be seen with young eyes waits for older eyes to catch up. The younger viewer perceives the ironic as insight. The emotion they experience evolves from the pathetique. In contrast the emotion I felt was that of fulfillment and apprehension regarding the next chapter of existence. When it was first unveiled, I doubt that <more>
people came from the world over to stare at Mona Lisa as they do today. Harry could not have spun a better yarn, nor crafted a better legacy for future generations. How lucky some of us have been to see his career flower - what a thrill to watch its last petal set free. Watch this movie every 10 years.
If ever there was a deserving send off for a grand actor, then this be it.As "Lucky", the cantankerous but lovable old sole, shuffling his way out of this mortal coil, Harry Dean Stanton is, as always, remarkable. Striding with purpose, very slowly, through a very regimented daily routine - diner coffee, crossword, game shows, cactus watering, smokes, drinks at the local watering hole - Lucky is revealed as a complex, always thinking, opinionated, ready to drop the gloves, 91 year old.There are several great performances, highlighted by David Lynch bemoaning the escape of his pet <more>
tortoise, but the film really belongs to Harry. Swiping some great real life histories Stanton's stint with the Navy blurs the line between fact and fiction just enough to act both as a fitting tribute and engrossing movie on it's own merit. This is a talkie, where action moves at a tortoise pace, but it matters not, for Lucky has that rare power to draw the audience right on in.Among the many low key but brilliant highlights, is a stirring scene to which Johnny Cash sings Bonnie Prince Billie's "I See a Darkness".Harry Dean Stanton was indeed Lucky.
An homage to old age and the meaning of life, if there is one (by andreacallon-160-112182)
A loving homage to an actor and musician that anyone over 50 has seen in movies over several decades. I wiped away tears several times over beautiful, thoughtful musings by Lucky, who, in most respects, was Harry Dean Stanton himself. This is a small but significant slice of life movie and showcases excellent writing, direction and acting by several collaborators who've worked together before. Notable understated performance by David Lynch whose character's lost tortoise serves as an analogy that some viewers who haven't lived several decades yet will not yet appreciate. I was <more>
stilled when Lucky sang, sad when Johnny Cash sang and I smiled, satisfied, at the end. I will watch this movie again with friends who understand the beauty of a simple and well written film like this and we will all feel satisfied and more connected as a result.
A reflection about facing the reality of our own mortality with joy. (by vvr)
Harry Dean Stanton portrayal of old age and the fear of dying that might come with it was natural and honest, I could see my late grandfather through his performance so it was an emotional experience for me.Lucky found joy again by accepting reality as it is instead of worrying about it till the inevitable end. In his own way, he started living again by making his peace with it. This is a wonderful gem about wisdom, a remarkable debut for John Carroll Lynch as a director and Stanton's most heartfelt legacy.
A wonderful swan song to the amazing career of Harry Dean Stanton (by ollie1939-97-957994)
In terms of actors, there were very few like Harry Dean Stanton. He could bring emotion and eccentricity to a role like few others. Whether it being a "space trucker" in Alien, Molly Ringwald's father in Pretty in Pink or any one of his collaborations with David Lynch, Stanton was a icon of cinema. His presence though always felt like seeing an old friend, a sense of comfort seeing his withered, story driven face. Other than Paris Texas, Stanton was only litigated to supporting and minor roles in films. Appropriately, for one of his final performances, Stanton was given the <more>
chance in the spotlight again. Lucky isn't a film about much. Directed by John Carroll Lynch another great character actor in his directorial debut, it simply follows the everyday routine of Lucky played by Stanton and the interactions he has with many of the local townsfolk. Lucky seemed like the role that Harry Dean was always born to play. It could almost be considered a companion piece to the 2013 documentary on Stanton, Partly Fiction. It incorporates much of Stanton's real-life philosophy, dry wit and even his musical ability into the final product as well. It feels like Lucky is just an extension of Stanton's personality which is absolutely wonderful. He was born to play this role and it would be a crime to see anyone else play Lucky. There's wonderful cameos from many different great actors including Ron Livingston, Tom Skerritt, Ed Begley Jr and of course his long-time collaborator David Lynch. All of them bring a wonderful warmth to their performance, despite their brief screen time Lynch in particular, has a wonderful monologue about his lost tortoise 'President Roosevelt' . This is very much a character piece over a narrative piece which may put some viewers off. However, to anyone that enjoys these types of movies with philosophical contemplation with wonderful characters and dialogue, this is certainly a movie for you. It serves as a great ending to Hollywood's best character actor.
Not a great film, but it is an important one I think. (by Hellmant)
'LUCKY': Four Stars Out of Five A drama starring Harry Dean Stanton in one of his final on-screen roles, before his death on September 15th, 2017. Stanton plays a 90-year-old atheist dealing with old age. It was directed by veteran actor turned first time director John Carroll Lynch, and it was written by Logan Sparks and Drago Sumonja two veteran actors turned first time screenwriters . The movie also features supporting turns from David Lynch, Ron Livingston, Beth Grant, Ed Begley Jr., Barry Shabaka Henley and Tom Skerritt reuniting him with his 'ALIEN' costar . The film <more>
has received almost unanimous rave reviews from critics, with Stanton's performance getting especially high praise. I think it's a well made character study, with a good performance from Stanton, but it's also just a little overrated.Stanton plays Lucky, a 90-year-old stuck in his ways, including smoking, that spends his time walking around his small town and hanging out with other elderly locals at a dive bar. He faints one day, and has to see a doctor Begley Jr. about it. Then he starts worrying about his upcoming death. The whole time he gets into arguments with his friends, and outsiders; like a lawyer Livingston setting up a will for his friend's Lynch turtle. He also continues to try to light up cigarettes in non smoking establishments.The movie is slow-paced, but it does have a lot of interesting dialogue. Not a lot happens in it, so it will seem pretty uneventful and dull to some viewers, but those that appreciate a good character study should enjoy it. It's also pretty insightful; about dealing with old age and your quickly approaching death. Stanton is really good in the film, and it's great to see him in a lead role finally. It's also sad that he's no longer with us, but it's touching that he got this one last good role to play about death and old age oddly enough . It's not a great film, but it is an important one I think.Watch an episode of our movie review show 'MOVIE TALK' at: https://youtu.be/eoAny_TuUM4
90-year-old atheist prepares for death by enjoying last days on earth (by maurice_yacowar)
Lucky moves — and moves us — on two levels, the personal and the thematic. Our visceral experience is of Harry Dean Stanton's valedictory. He died shortly after completing this work. Across a career of IMDB says: 200 film/TV roles, he fashioned the persona of a stoic, weather-pounded and beaten survivor. He had — nope, has — one of the most lived-in faces and starved bodies in American cinema. His role in Big Love was one of the few which let him wield power. But that role apart, moral authority he always had. So when Stanton at 91 plays the 90-year-old veteran living out his <more>
last solitary days in a desert town, Stanton is living out his last days too. He's telling us he feels Lucky — lucky even to be living this reduced hard-scramble life, lucky to have stumbled into that long and rich career, lucky even to be moving towards his — our —unpromising end. The film's major themes centre on two phrases. One is the definition of "realism" that Lucky seizes upon: It's a "thing," the ability to see things as they are and to learn to live with that. When he describes realism and then freedom as "a thing" he blurs the line between the material and the abstract. There is no abstract beyond our physical existence.As an atheist, Lucky has no afterlife to worry about, nor any judge to whom to hold himself ultimately accountable. He is free to do what he wants and to accept only what responsibility he chooses. He chooses when and when not to light up a cigarette in a no-smoking area. The second phrase is the fall that gives Lucky his first intimation of mortality. He literally falls. But in a broader sense, Lucky is postlapsarian man. Adam's fall left mankind mortal and alienated. The harsh desert landscape here is relieved solely by the plush garden/oasis of Eve's, the fancy dining spot from which chef Lucky was fired for toking up in the kitchen. That's weed as the Forbidden Fruit. Whenever Lucky passes that garden he spits the misogynous c-epithet at it. But not the last time. The last time he passes it without resenting his expulsion, his alienation. Perhaps that shows his response to some particular episodes of community. In his daily morning coffee shop, he chats with a fellow WW II vet. He also engages with an irritating insurance agent Lucky earlier challenged to a fight over this predatory job. Two key scenes involve his engagement with women. The black waitress drops by to check on him and they share a joint, then a hug. The corner store owner invites him to her five-year- old son's fifth birthday party, where Lucky to everyone's surprise breaks out in a warm, gravelly Spanish song. After these scenes, he doesn't resent Eve's any more, because his community on earth is the only Eden we can expect. That we need to enjoy. At first Harry lives days of unthinking ritual. He buys the daily quart of milk even though he still has two in the fridge — and little else. He mechanically lights up and tosses cigarettes because he has outlived their threat to his health. He swaps barbs with the coffee shop staff and regulars. He paces out the desert. The two scenes with the women restore his sense of genuine community, recover his awareness of the richness of life — even at this reduction, in the arid land and aging. So here is Lucky living out his last days, sharply attuned to seizing the present riches — such as they are — because there is no beyond to diminish them. If there is a faith to be had then it's in what we find on earth, not in anything supposedly beyond. In two scenes he talks on his red phone to some man — whom, we never learn. That's a parody of speaking to someone supposedly in the beyond, of uncertain existence. That's where he learns his "realism" — from the implied absence at the other end of the line. Lucky here recovers his faith in the people around him, the friendly and accepting community. If there is any justice or reward it will have to be here on earth, nowhere else. That may dishearten the conventionally faithful but it should hearten the rest.And once we accept the limits on our existence, the futility of our attempts to control what lies beyond us, once the only "things" we need are that "realism" and "freedom," that's when we can get the most out of life. After all, once the other man gave up his hopes for finding his escaped tortoise, once he sat back and accepted his fate, that's when the tortoise came back. That's the "new deal" that President Roosevelt that tortoise here represents.