Jackpot

This flashback, head trip style is confusing at first but really works at the story unfolds. Once we find Sunny Holiday (Jon Gries, great job by the way) sitting in his car rewinding and fast forwarding his tape over and over until finally interrupted by his karoake tour manager, Les (Garrett Morris) you realize he is as obsessive compulsive as his brother (played by Anthony Edwards and Rick Oberton).

Funny moments besides a few fart jokes include Mac Davis not feeling his own real life his BABY DON'T GET HOOKED ON ME does not feel right for him.

In "Jackpot", the Polish brothers tell the story of a character who is more curious than interesting - a soap-selling professional karaoke hustler (Gries) with his own agent (Morris) and impossible dreams of making it as a pop singer. The film has a good premise and an excellent execution but is doubtless destined to be one of those fringe indies with earnest integrity which flies in the face of limited market appeal. An enjoyable watch for those into films about quirky, down-and-out type characters. (B-)

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.

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.

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.