{"id":3655,"date":"2026-07-15T06:35:54","date_gmt":"2026-07-15T06:35:54","guid":{"rendered":"https:\/\/uspropertymoves.com\/?p=3655"},"modified":"2026-07-15T06:35:54","modified_gmt":"2026-07-15T06:35:54","slug":"lucky-review-anya-taylor-joy-stars-as-an-identity-swapping-con-woman-in-an-apple-tv-thriller-with-identity-issues-of-its-own","status":"publish","type":"post","link":"https:\/\/uspropertymoves.com\/?p=3655","title":{"rendered":"\u2018Lucky\u2019 Review: Anya Taylor-Joy Stars as an Identity-Swapping Con Woman in an Apple TV Thriller With Identity Issues of Its Own"},"content":{"rendered":"
\n<\/p>\n
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\n\tIn a good con artist story, the marks are rarely the focal characters, but they\u2019re often just as important.<\/p>\n

Read more Nordstrom Anniversary Sale 2026: The Top 20 Deals on Hollywood\u2019s Most-Loved Labels<\/a><\/p>\n

\n\tA grotesquely rich mark is an indication that the swindlers are the heroes and the tale has eat-the-rich undertones, making flimflammery into the last refuge of the desperate everyman.<\/p>\n

\n
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\t\t\t\t\tLucky\t\t<\/p>\n<\/h3>\n

\nThe Bottom Line<\/span>
\n<\/p>\n

\tNever clicks, despite a strong cast.
\n\t<\/span>\n<\/div>\n<\/div>\n

\nAirdate: <\/strong>Wednesday, July 15 (Apple TV)
Cast: <\/strong>Anya Taylor-Joy, Annette Bening, Timothy Olyphant, Aunjanue Ellis-Taylor
Creator: <\/strong>Jonathan Tropper\t\t\t<\/p>\n<\/div>\n<\/div>\n<\/div>\n

\n\tAn overly sympathetic mark is an indication that the swindlers are villains, or at the very least anti-heroes, so desperate that they throw away class solidarity to make a quick buck.<\/p>\n

\n\tAnd if the mark is a MacGuffin, a few meaningless keywords tossed around without anything tangible to invest in, the rest of the story had darned well be delightful. Otherwise it\u2019s going to feel insufficiently considered to the point of meaninglessness.<\/p>\n

\n\tThat the main con in Apple TV\u2018s Lucky<\/em> takes place before the events of the series, makes no sense, and therefore adds nothing to the principal story isn\u2019t necessarily the only reason nothing in the seven-episode limited series clicks. But it\u2019s representative of the choices made in an adaptation that scraps the entirety of the book being adapted and replaces those elements with motley bits and pieces that fail to generate a consistent tone, theme or pace. It\u2019s a show about an identity-swapping heroine that has no sense of its own identity.<\/p>\n

\n\tIt isn\u2019t even that Marissa Stapley\u2019s book is particularly good. It\u2019s a frivolous beach read with an interesting main character. It\u2019s more that Jonathan Tropper\u2019s take on the material is half frivolous lark, half self-important commentary, wholly nothing in particular, though Anya Taylor-Joy and a solid ensemble cast work hard to swim against the underdeveloped stream.<\/p>\n

\n\tTaylor-Joy plays Lucky, a young con woman semi-reluctantly raised into The Life by her now-incarcerated con man father, John (Timothy Olyphant).<\/p>\n

\n\tLucky and hubby Cary (Drew Starkey) are enjoying one last night of revelry in Las Vegas before fleeing the country with a briefcase containing nearly $10 million in cash, money skimmed by her father from an elaborate scam perpetrated by his mother (Annette Bening\u2018s Priscilla) and a wealthy, shady big boss (William Fichtner\u2019s Whittaker).<\/p>\n

\n\tWhat was that scam? Something stupid about oil. I\u2019m not even sure if that\u2019s the con I referred to above because it\u2019s so amorphous. Who is the victim? Is it us? Does it matter? Is there something Tropper could have done involving price-fixing in the oil industry? Perhaps. Does he get anything at all out of that backdrop here? Nope.<\/p>\n

\n\tAnyway, after said night of revelry, Lucky wakes up alone. Did something happen to Cary or was Lucky the mark? It\u2019s completely impossible to care, but things start moving so quickly that \u201ccaring\u201d becomes immaterial.<\/p>\n

\n\tAlmost immediately, Lucky is fleeing from Priscilla and her chief enforcer Dutch (Clifton Collins Jr.), and from a dogged FBI agent (Aunjanue Ellis-Taylor) determined to bring everybody down. Like Netflix\u2019s hit Harlen Coben adaptation I Will Find You<\/em>, it\u2019s another triangulated search that allows or requires every piece of exposition to be delivered in triplicate, at the expense of what ought to be pretty clean \u201crun or die\u201d momentum.<\/p>\n

\n\tAnybody who has read the book will note that its primary plotlines involve Lucky\u2019s search for her birth mother and her possession of a winning lottery ticket she knows she can\u2019t cash because she\u2019s a wanted woman for a scam tied to bilking senior citizens of their investment income. Every bit of that has been scrubbed, to the degree that I wonder why, if all Apple, Tropper and executive producers Reese Witherspoon and Hello Sunshine wanted to do was make a show about a reluctant con woman with a con man father, any source material was required at all. This is as much a remake of Paper Moon<\/em> as it is an adaptation of Lucky<\/em>, and it definitely isn\u2019t that either.<\/p>\n

Read more Christopher Nolan Crammed Inside Trojan Horse With 20 Actors to Shoot Pivotal \u2018Odyssey\u2019 Scene<\/a><\/p>\n

\n\tTropper and the series seem to actively hate the lightness of the book, the idea that you can perpetrate frauds and still be a redeemable heroine, without having the necessary intellectual heft to complicate things in a meaningful way. Tropper\u2019s Your Friends & Neighbors<\/em>, imperfect as it is, does a lot of the same things only much better, and neither show approaches the level of viewer-challenging moral ambiguity of Tropper\u2019s Banshee<\/em>.<\/p>\n

\n\tParticipating in television\u2019s ongoing \u201ceverything is the wrong length\u201d epidemic, Lucky<\/em>, at seven episodes, is exactly the wrong length. Anything shorter and things would perhaps move fast enough for us to ignore how poorly developed every supporting character is; anything longer might have allowed for the story to feel fully inhabited by real characters, not plot catalysts played by overqualified performers.<\/p>\n

\n\tThe series sets viewers up with a pilot that\u2019s almost entirely a Run Lola Run<\/em>-style pursuit, with Taylor-Joy\u2019s Lucky weaving in and out of casinos and making various daring escapes, all while changing her hairstyle and look in ways that aren\u2019t convincing given that Taylor-Joy is mighty distinctive. Still, it\u2019s entertaining, and Taylor-Joy is having a blast playing a woman easily able to inhabit multiple personae, all while sneaking into and out of labyrinthine casino passageways and leaping across various trucks at a rest station. Jonathan Van Tulleken, who directed the first and last two episodes of the series, isn\u2019t great at the lighter elements of the story, but he moves things along.<\/p>\n

\n\tThen there are a couple of episodes in which the pieces are navigated around the chess board \u2014 man, Lucky<\/em> isn\u2019t in the same league as Taylor-Joy\u2019s last limited series, Queen\u2019s Gambit<\/em> \u2014 with repeated exposition and more outfit and hairstyle changes. Finally, the series closes with two episodes building to a climax in which every twist is precisely predictable.<\/p>\n

\n\tWedged in-between is a fourth episode, directed by Jet Wilkinson, that includes both a bruising car chase through Long Beach playing San Diego and lots of characters yelling sanctimoniously at each other and underlining the line of dialogue that gives the episode its title \u2014 \u201cAre We Bad People?\u201d<\/p>\n

\n\tThe answer would theoretically be \u201cyes\u201d and I would theoretically be fully game to have a show in which the main characters are constantly facing their imperfections. That\u2019s good drama! But in Lucky<\/em>, the characters are, mostly, barely characters, which makes it hard to invest in whether or not they\u2019re \u201cbad\u201d or \u201cgood.\u201d<\/p>\n

\n\tWhen Lucky and Cary shout at each other, it isn\u2019t a fair fight because one is the main character in the series played by an exceptionally versatile actress and the other is some guy played by some guy (Starkey has been good in other things in the past, but Cary is a useless role). <\/p>\n

\n\tPriscilla and Whittaker yelling at each other is closer to a fair fight, since Bening and Fichtner are fine actors on comfortable footing. Still, he\u2019s on slithery autopilot and she\u2019s mostly there to evoke memories of The Grifters<\/em>, which doesn\u2019t work when the material\u2019s sense of moral ambiguity is so much less refined than the murky pragmatism driving Stephen Frears\u2019 classic. Thanks to Bening, it\u2019s possible to go seven episodes without wondering why Priscilla is defined by her love of horses, her love of her boring, boring son (she at least knows he\u2019s a waste of time) and nothing else. Priscilla is the series\u2019 main antagonist and she\u2019s a cipher brought very partially to life by a great actor.<\/p>\n

\n\tSee also Ellis-Taylor, so solid and so intense that you barely realize the only things we know about Agent Rand are things other characters tell her about herself in clumsy fashion. Ellis-Taylor and Olyphant gave the recent Justified<\/em> reboot season its beating heart and it\u2019s disappointing that nobody on Lucky<\/em> was able to capitalize on that chemistry for more than a scene or two. More frequently, Ellis-Taylor has to share her scenes with Mo McRae\u2019s Agent Gates and with Eric Lange as her surly boss, and McRae and Lange are stuck with characters who might as well have been named \u201cGeneric Partner\u201d and \u201cGeneric Boss.\u201d <\/p>\n

\n\tTaylor-Joy and Olyphant are really the series\u2019 standouts: the former because Lucky is an entertaining mix-and-match character, even if eliminating most of the the book\u2019s flashback structure eliminates most of the depth to her character\u2019s reluctance; the latter because both Olyphant and Tropper are smart enough to emphasize the imperfections in his slickly charming huckster archetype.<\/p>\n

\n\tBut John isn\u2019t much of a character either, and it\u2019s hard to take this thin half-hearted \u201cIt\u2019s tough to be the son or daughter of a career criminal\/con man\u201d meditation seriously. Or humorously. Or thrillingly. Whatever Lucky<\/em> wants to be or thought it could be, it doesn\u2019t come together as more than an uneven diversion with a super Fiona Apple theme song.<\/p>\n

Read more \u2018In the City\u2019 Finale Recap: Kyle and Amanda\u2019s Emotional Split, Three Pregnancy Announcements and More<\/a><\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Reese Witherspoon executive produced Apple's 'Lucky,' a seven-episode thriller featuring Anya Taylor-Joy, Timothy Olyphant, Annette Bening and more.<\/p>\n","protected":false},"author":1,"featured_media":3654,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[2589,1563,361,2590,1641,476],"class_list":["post-3655","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interesting","tag-annette-bening","tag-anya-taylor-joy","tag-apple-tv","tag-aunjanue-ellis-taylor","tag-lucky","tag-timothy-olyphant"],"yoast_head":"\n\u2018Lucky\u2019 Review: Anya Taylor-Joy Stars as an Identity-Swapping Con Woman in an Apple TV Thriller With Identity Issues of Its Own - US Property Moves<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/uspropertymoves.com\/?p=3655\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018Lucky\u2019 Review: Anya Taylor-Joy Stars as an Identity-Swapping Con Woman in an Apple TV Thriller With Identity Issues of Its Own - 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