In horror films, there is almost always a skeptic character who counters the protagonist’s fears because he thinks it is mere imagination. Sooner or later, the character will believe it, having witnessed the terror firsthand. What if that person actually exists in the real world? The difference is, no matter how many times you see it with your own eyes, he (or they) still refuses to believe and always underestimates.
Who is the person in question? Maybe it’s all around us, or it could be, even us. Because Lucky, through a script by Brea Grant, is a social critique about the public’s tendency to underestimate the story of women, who claim to be victims of male terror, whether it be physical, mental, or sexual abuse.
May (played by Brea Grant herself) is a book writer who struggles to get a contract from a publisher. But that was only a small problem when compared to the terror he was facing. Every night, a masked man enters her house, then attacks May. He managed to escape, even injuring the assailant several times in vital areas, but instead of dying, the man always disappeared. Best Movie Site
The police conducted an investigation that seemed less serious. Let alone arresting the perpetrator, the police just told May to calm down, saying that she was lucky not to lose her life. May’s husband, Ted (Dhruv Uday Singh), who confronts the masked man face-to-face, behaves similarly. “Doesn’t this happen every night?” he said casually. Even Ted chose to leave because he thought May’s reaction was excessive, leaving his wife alone to face terror.
Lucky doesn’t run like conventional horror. Tend to penetrate surrealism, which is getting thicker as the duration goes on. Apart from May, the characters are closer to the personification of the idea of ”those who refuse to believe” than real humans in all their complexities.
Hearing “surrealism”, don’t worry the film will be confusing. Lucky is easy to digest. clear. It’s so obvious, in fact, that it’s questionable why Grant should bother with absurdity. If the goal is to make the message easy to digest, wouldn’t it be more effective to stick to realism? This film is like being made by someone who has recently become acquainted with one or two of David Lynch’s works, and then immediately makes a Lynchian-style film. Movie Review
But it must be admitted, regarding the delivery of messages, Lucky has high relevance and urgency. Every day May experiences terror. When he is not taken seriously, it is natural that his trust in the authorities, as well as those around him (including his fellow women, which is even more heartbreaking), wanes. Then, always living under the shadow of fear, making the victim no longer have time to think about other things, including celebrating career success. Waking up, desperately surviving, (inevitably) sleeping, then waking up again. And so on.
One more thing that was conveyed was, so that we do not confuse the personal side of the woman with the terror she received. Having committed a grievous sin does not necessarily mean that you deserve abuse (or other forms of violence). The sin that Grant chose made his character less likeable, but that’s where the main point lies. We must be able to separate issues with personal preferences.
As a horror seasoned with elements of a home invasion thriller, Lucky is a mediocre one. Armed with jump scares, chases, and gore which were handled perfunctory by Natasha Kermani as the director, this film does not present tension at a high level. But the presentation of an incredibly important issue that (unfortunately) will always be relevant, makes it worth listening to. Top Movie