Jackpot

Attached to every dream there is a ticking clock, an acceptable window of opportunity. When that window closes it's time for the dreamer to "Give it up", and "Get a life", or run the risk of society labeling them a pathetic loser. An unfair stigma if you ask me. Jackpot's Sunny Holiday (Jon Gries) is one such dreamer, whose dream it is to make it big as a singer. His unorthodox means to that end is to hit the road and compete in a string of Karaoke contests, which he and his manager Les (Garrett Morris) hope will bring him exposure and much needed prize money to keep the show on the road and the dream alive.

It's a seemingly harmless pursuit, but society has another label for Sunny - "deadbeat", as in "deadbeat dad". Unless slipping the odd lottery ticket into the mail from time to time is considered acceptable fulfillment of child support obligations, Sunny falls a little short in the parenting department. But he means well, dammit, and if, as they say, "the road to hell is paved with good intentions", then that must be the road that Sunny and Les travel down in their pink 80's model New Yorker, en route to Jackpot, Nevada. It's a road littered with broken dreams and broken dreamers, and paved with the cruelty of hope. The hope that lies in every new town, where there always awaits a new contest, a new chance to win and a new chance to forget the past and make everything all right.

Jackpot, the second offering from Mark and Michael Polish (Twin Falls Idaho), is a wonderful, often hilarious and oddly touching film. Driven by the inspired lead performances of Jon Gries and Garrett Morris, and deliciously peppered by a never-ending string of cameos and supporting turns by an eclectic ensemble cast that includes Daryl Hannah, Patrick Bauchau, Peggy Lipton, Crystal Bernard, Mac Davis, and Anthony Edwards, Jackpot is a refreshingly original tale full of heart and humor and told with a stunning visual style and a dreamy vibe that has the Polish Brothers' thumb prints all over it. A rare film, this is the type of movie that reminds me why movies are made. I thoroughly enjoyed Jackpot and recommend it very highly to movie audiences this summer...and beyond.

The Polish Brothers' "Jackpot" is a unique and well crafted, but unfortunately flawed little movie about determination and the weight carried that can cause one to let go of their dreams. It is as entertaining as it is long, but endless on creativity. It is a bizarre, unpredictable trip following a mysterious kareoke singer named Sunny Holiday and his even stranger counterpart Lester Irving. Both are pathetic in their obsessive desires, but also oddly motivated. Sunny was a family man who sets out to find himself, and a future singing at bars and lounges. He does have his success, mainly because of Irving's help. The film has an ironic, sarcastic tone, floating across the Mid-Western lounge scene introducing many wonderful characters. The Polish Brothers are excellent filmmakers and add a distinct humor and style to this original sophmore effort. At times the film seems aimless, and going in circles (or not anywhere at all)...it seems to go on for a very long length yet it manages to eventually take off with the help of a lot of clever ideas (notably the brilliant structuring). But the greatness in storytelling makes "Jackpot" a one of a kind winner. It is such beautiful and original filmmaking. Life on the road is captured with such a genuine feel as the two mysterious men drive about in their pink car and encounter many weird and appealing characters. The high definition cinematography is pretty amazing as well…reminiscent of Kubrick's "Eyes Wide Shut."

Even more than the previous, awesome movie by the Polish brothers, "Jackpot" presents a quiet, even-keeled portrait of what at first seem like a ridiculous pair, but who's sincerity and refusal to give up makes you admire them. There's a kindness to the ironic view that is a relief; the characters are not exaggerated or spoofed into cartoon-condition, their audiences aren't either. The tone of the film is respectful yet ironic - a healthy mix. The cinematography is nothing less than beautiful, again as was the previous film from M & Polish, "Twin Falls Idaho". Same cinematographer, David Mullen, but this time the movie originated on 24P, high-definition video, and was converted to film. It's really very beautiful, the tones are just right, the look doesn't distract from the story at any time, but if you care for such things, it is really a visual treat. I think the movie might have gained from a little 'scissors action' towards the end it started to drag a bit, but not enough to change the fact that this is a wonderful and completely enjoyable movie in many ways.

This film is not just that typical on the road Middle America odyssey, with frequent stops in kitschy bars and dusty diners. Jackpot has a well written script with a strong focus on character development and interaction. Gries and Morris work well together as a fly-by-night duo. Gries' goofy but personable character allows his mediocre singing to be quite intriguing. The witty dialogue was enjoyable and consistent throughout the film. Most notable is Garret Morris' performance. The film was a clever attempt to show two zealous characters struggle for an unrealistic, waste of a goal. You can't help but be envious of their carefree attitude and at the same time loathe their divergence from ideal responsibilities. It's realism allows for a vicarious experience and an appreciation of great screenwriting.

If this was 1972, Jackpot would star Jack Nicholson as a talented, but down on his luck musician searching the dusty corners of the country looking for his big break and the pieces of his squandered life. Critics would hail it as being gritty and brave. But Jackpot takes place in the here and now. And while it's hero is searching the dusty corners of the country looking for his big break and the pieces of his squandered life, he is utterly talentless, mean spirited, self centered, and a pathetic jerk to boot. Needless to say, critics did hail Jackpot in the least. Which, I can't blame them for. A year and a half ago I left the theater feeling I experienced nothing more than a loss of $10. I felt the film was pointless, aimless, and without any real payoff. But, after 5 blocks on the walk home I realized, so are the lives of the characters.

Therein lies the beauty of the film. It's the man behind the legend that was never a legend to begin with (except in his own mind). It's a '70s anti-hero film except with the sense to show the "hero" for who he really is. Not a tortured genius. But, only a loser with delusion of tortured genius.

And, upon repeated viewing it's aimlessness becomes invisible. In fact, the script is militant in it's tightness. But, the direction never chooses to hit you over the head with it's plot or it's points.

Instead, opting to throw them about almost offhanded, allowing them to seep in (as it did for me, and perhaps not for others).

Jackpot is rich in it's rewards to those who pay attention. And besides, any film that can go from being terrible to great in 5 blocks has to be worth something.