Pixar Reborn

“Pixar Reborn”

A Review of Luck by Nick Olszyk

 

Distribution Service: Apple+

MPAA Rating, G

USCCB Rating, Not rated at the time of this review

Reel Rating, Four Reels             

 

            Skydance Media has had a pretty good track record of hits so far, especially the Star Trek reboot and, most recently, Top Gun: Maverick. Like other companies, it has been quietly moving into the vacuum left when Disney pivoted to the far left. Luck is their first animation effort, and you couldn’t ask for a better Freshman entry, mostly because they managed to scoop up the Mouse’s prized jewel before anyone else.

            Sam (Eva Noblezada) has a hard life. Thrown into the foster care system early, she bounced between facilities and was never adopted. Now, on her eighteenth birthday, she must face an uncertain world alone. In addition, she is incredibly unlucky, losing her apartment keys, getting jelly on her kitchen wall, and breaking inventory at work – all on her first day as an adult. Rather than give up she focuses on helping Hazel (Adelynn Spoon), her former roommate, find a “forever family” and avoid a similar fate. Fortunately, she discovers a supernaturally lucky penny, only to flush it down a toilet hours later. It turns out that specific penny belongs to Bob (Simon Pegg), a black cat employed by the Land of Luck, a bureaucratic world of magical creatures that allot luck – both good and bad – to the human world. She strikes a deal with him to infiltrate the plane and find another penny. Knowing her luck – especially here – that’s a fat chance.

            There are moments in Luck that are pure genius. The opening scene of Sam getting ready for her first day of work as everything goes awry rivals the best silent comedy of Buster Keaton, Charlie Chaplin, and WALL·E. Unfortunately, the middle act gets bogged down in heavy exposition as Bob and company explain the laws of this weird universe. The world is creative and visually pleasing but nothing special. The real treasure lies in the film’s heart.

            Good and bad luck are a neat way of talking about joy and suffering on a level children can understand. Everyone experiences suffering, and no one really wants it, so what should humans do? On approach, suggested by the land’s CEO, is to eliminate bad luck altogether, the attitude of the modern pagan. Yet a life of pure pleasure is not only unrealistic but devoid of meaning. Another approach, suggested by the Buddha, is eliminate desire. This is more successful but also negates any of the profound joys of life. Sam, and Christianity, take the third option: suffering can be redemptive. The creatures who produce and monitor bad luck are not machoistic but see it as way to help humans “pivot” and become more creative.

Suffering also teaches empathy and is the chief path to holiness, imitating the mission of our Lord. At one point, Sam feels she has failed her friend. “All I do is let people down. She would be better off if she never met me.” Bob disagrees:

 

“Well, I wouldn’t be better off. You’re not bad. You’re the opposite of bad, like some kind of pure goodness. Your first instinct is to share, like that tasty meat bread. Or to help, even if helping means stopping you from getting what you want the most. And what’s even crazier is that what you want the most isn’t even for you. You want good things for others in a way I can’t comprehend. And you’ll endure the worst luck ever just to make it happen. Your friend Hazel doesn’t need good luck, she’s already the luckest girl in the world.”

 

In Catholic terminology, that would be called a saint. Sam is one of the most compelling fictional characters I’ve seen in a long time. She will eventually help her friend, and, in turn, her friend will find Sam a “forever family.” This is the best expression of the beatific vision since The Drop Box.

            Even before Luck’s release, there have been numerous comparisons between Skydance Animation and Pixar. The film itself winks at the phenomena, with references to A113 and a character voiced by John Ratzenberger. I’ve already written about Disney’s woes, and they can be traced back to 2017, when Lasseter – the company’s founder and chief creative visionary – was forced out due to allegations of sexual misconduct. I, nor anyone else not directly involved, have no right to pass judgement on such an event, except to say he was not convicted, or even charged, with a crime. Yet it is interesting that after his departure, more old guard animators, including Finding Nemo’s Andrew Stanton and The Incredibles’ Brad Bird – have quietly left.

            John Lasseter was hired by Skydance to lead their fledgling animation company and was quickly met with disgust. Emma Thompson left Luck and was replaced by Jane Fonda (ironically also an equally infamous Hollywood liberal). As it always does, the “talk” died down and the project moved forward. Like Sam, Lasseter experienced some bad luck and pivoted. Perhaps this experience will also bring about something greater. Only time will tell, but, if Luck is an indication, the future is exciting.