Clever, cutesy, and fully aware of its own “Ocean’s 7-11” identity. The jokes aren’t as sharp as in other Soderbergh films, but the effort is there. Channing Tatum is the weakest actor in the ensemble, and by the end, there are too many loose ends left dangling. Still, the process of getting there is enjoyable, and there is a good movie within the mess.
The father–daughter storyline and the pageants do little for the film emotionally, but they serve a purpose and add a layer of realism that grounds the larger heist. Something is missing, though—perhaps the glamour of Ocean’s Eleven or the appeal of hi-tech gadgetry. Yet the lack of those elements is partially what makes Logan Lucky work; it embraces a blue-collar heist without the polish.
The film simply isn’t firing on all cylinders. There are flashes of an excellent Soderbergh caper, but they never fully come together. If it weren’t his film, the overall impression might be weaker—but then it also wouldn’t have his trademark visual clarity, his preference for showing rather than telling, and the confident pacing that keeps it afloat.

