Lucky

I had the pleasure of seeing Bari Kang's "Lucky" at the New York City theatrical premiere last week. "Lucky" stands out with a 1970s aesthetic, with many gritty night shots of Kang driving through New York City's streets. The casting is superb, as the film is populated with real character actors, who fully and convincingly embody their characters. Alfredo Diaz is standout in particular, in his role of Fernando, adding a strange and uncomfortable joy to his character's menacing quality, which plays well off of Bari's character, Lucky, who is more restrained, with internal torment. Excited to see what the multi-talented Bari Kang does next!

First, the only real redeeming value I found in this film is that I grew up and lived in the areas that 75% of this film was shot at, for 35 years. 31st Street in Astoria NY, LIC, Queens Blvd., Woodside, Sunnyside and some in Manhattan. Seeing the old Hood was cool but, barring that, the film was contrived and clearly in the "B" movie category.

The Protagonist/Director, Did a pretty good job but that's where it ends. Clearly he is the only talent in this mess. The antagonist is about as menacing as a bad pimple. In that neighborhood, (or any in NY for that matter) if a guy like him acted the way he did in real life, he would have had his head handed to him 10 minutes into the film. (Based on his "bad guy" portrayal) The story is a familiar enough one that rings true as I've had friends in similar situations (illegal and trying to gain citizenship) via any means possible. But, to believe a guy steps into a cab and brings the driver (who he has never met) into his world of drug dealing, murder, prostitution etc., is ridiculous. The fact the film tries (and fails miserably) to get the viewer to believe that those scenarios really happen clearly tells you the director has never dealt with the streets before.

Perhaps, for some Park Ave. spoiled kids this might be believable, but, for anyone who grew up in any major metropolitan city to believe this is a far cry from truth. As the saying goes, "where there is smoke there is fire"....regarding this film, someone should have doused these flames by the second act!

If you can view this film for free, then give it a shot, otherwise, don't spend a dime. It's a fairy tale, not a crime thriller.

So I had no plans of seeing this movie except that I happened to be attending a festival at Village East Cinemas and saw that "lucky" was playing with a Q/A and my boyfriend wanted to watch it. The movie is Good. Not Great but solid. The actors did a good job and the story, although familiar, (I'm an immigrant) had an interesting spin on it. It was unapologetic and I appreciated that. This is a real independent film and you can tell the budget must have been tight, which was acknowledged in the Q/A so that much more respect to the filmmakers for pulling it off. After hearing everything they had to do to get this made, you appreciate it that much more. Kudos to the team. The music was great too.

Lucky is a relatable character in modern day urban NYC. The opening was strong and even though Lucky is a criminal, you feel for him. The story starts to slow down about 15 minutes into it and then we meet Fernando and the pacing picks up and Lucky is now on a new path, one which I enjoyed watching unfold. There are enough twists that keep you engaged even though you might have guessed how things are going to turn out. However, the filmmaker surprised me with the ending. If you are used to happy ending mind numbing action then this may not be for you. For a slice of life gritty story give Lucky a shot.

Extremely deft rendering of current immigrant experience (South Asian) in the NYC underbelly recalling not only Scorsese but even Scott B and Beth B by a young filmmaker who will go far. Accolades from the LA Times are highly justified pointing to the multinational, multi-everything, cast who gel almost as an ensemble. The perspective of a NYC taxi driver working the night shift is iconic and the immigrant's outer-borough reality in high relief. The Manhattan sophisticates at Cinema Village East were floored when one beautiful shady character, brilliantly realized by Galla Borowski, burst into Russian in the cab. One sensed creator Bari Kang was playing himself though having turned his life around. Hard-hitting, violent, mournful and haunting. Representations of miserable struggles, drugs and desperation, hearkening to years when Gotham was totally out of control, a time forgotten by many comfortable New Yorkers.