Something that I have been giving an unhealthy amount of attention to lately are correlations between comedies and horror movies. How is it we’ve made it so far in the pantheon of the genre and never considered this? Maybe I’m not alone and this is something that is frequently considered when discussing the relationship between the two. To clarify, I’m not considering horror comedies like 12 Hour Shift or Saturday the 14th, both of which are comedies with horror elements. I’m not even considering genre crossovers like Jim Carrey, Jordan Peele, or John Krasinski. I’m thinking mostly about concepts that originate within the world of comedy and then find a home in the horror genre.
Last year’s Freaky is a perfect example of what I mean. The concept of body swapping may have begun in the world of B-movie science fiction with Invasion of the Body Snatchers. However, I would argue that Disney’s take on the premise, in 1976’s Freaky Friday, brought it to a larger audience. In turn now most viewers within the general audience would know the latter over the former. Then there are the Happy Death Day films. A duology that resets the same day; effectively giving the Groundhog Day formula a beautiful reinvention. Take some time to consider what movies like Freaky Friday or Groundhog Day did.
Imagine repeating the same day over and over again or finding yourself in someone else’s body with their passions and friends. That’s a truly terrifying thought. I don’t know what I would do if I woke up in the life of one of my fellow writers or podcasters here at Victims and Villains, or the body of our editor-in-chief or even my wife. It’s a concept that would shake me to my core. Perhaps even more terrifying than that concept would be the idea of repeating the same day over and over again. What would that do to your mental health? What if you were consistently sick, having a rough day, or reliving something tragic and you have to live with that until you can figure out how to change the formula of the day?
It’s not just a comical movie synopsis anymore, is it? It carries some weight now, doesn’t it? Brea Grant finds herself stuck within the same loop in Lucky. Grant plays a best selling women’s health author who experiences the same day of a man breaking into her home over and over. This film handles the mystery element of the story really well. Grant, as both star and writer, does a great job at making her character compelling, though in some ways other characters feel like they have no weight to them at all. I appreciate how diverse of a cast we have here. However so many of those diverse characters feel one noted or shallow. It’s almost like Grant spent most of her time while writing focused on her character.
Even the antagonist feels anticlimactic by the end. To call this end unsatisfying would be a massive understatement. Lucky could have one of the worst endings I’ve seen in a movie to my recent memory. The pacing for the majority of this movie is extremely methodical and handled well, but for some reason, the last ten minutes of this movie are just set on overdrive and autopilot. Everything that the movie has been building to falls like sand through the viewer’s hands. It's an incredibly awkward choice for this movie.
Grant does a phenomenal job building the lore and mystery surrounding her character. The entire time viewers are questioning if we’re to look to the husband, assistant, agent, or otherwise. It’s marvelously laid out. Unfortunately that energy falls flat when it attempts to divert attention elsewhere. Several times I found myself scratching my head at the bizarre narrative choices this movie makes. With making Grant’s character a self-help author, specifically for women, it feels like the movie is trying to comment on feminism. There is one scene in particular where Grant tries really hard to establish that. It goes nowhere and once again feeds into the machine of weird plot choices this movie consistently makes.
Overall, Lucky is anything but lucky. Brea Grant is about the only redeemable thing this movie offers. Her script has a lot going for it. She created a great leading character, effective lore, and a compelling mystery, but it’s just not enough to save this train wreck on repeat. A plot overstuffed with one dimensional characters, baffling plot decisions, and a lackluster finale - Lucky runs out of luck before the first kill.
RORSCHACH RATING:
Mental Health Moment: There comes a point when we are brought to an uncomfortable question - what do we do with pain? Throughout her journey in the movie, Brea Grant comes closer and closer to death. There comes a point when she comes face to face with the killer and remarks “I’m not scared of you.” She methodically plans how to grow stronger and conquer her fears throughout the entire film.
Fear can take its toll upon our mental health. It’s how we respond to it that matters. We can let it conquer us and never address it. On the other hand, we can conquer it and learn to grow from it. Through every heartbreak I have found myself in, each death I’ve experienced, or each piece of hard news, my first question is, “how am I going to respond to this?” It matters. The decision of how we respond to pain can have a greater impact on our future than we realize.
If you or someone you know is reading this right now and struggling with suicide, depression, addiction, or self-harm - please reach out. Comment, message, or tweet at us. Go to victimsandvillains.net/hope for more resources. Call the suicide lifeline at 1-800-273-8255. Text "HELP" to 741-741. There is hope & you DO have so much value and worth!
Victims and Villains is written (and produced) by Josh "Captain Nostalgia" Burkey and others, and edited by Cam Smith. Music by Mallory Johnson and others. Lucky is property of Epic Pictures and Shudder. We do not own nor claim any rights.
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