“Ocean’s Seven-Eleven”.

I’m on board for most things from Soderbergh. It’s the reason I stuck with Logan Lucky long enough to get past what I expected it to be about (“redneck heist caper” holds little appeal, for me at least, on paper) – and I’m really, really glad I did.

Easing into things: Channing Tatum, whose charisma can elevate whatever he’s in, and Adam Driver, whom I find one of the most riveting performers in movies today; and the movie, it very quickly becomes apparent, isn’t punching down – both the story, and the characters, play on and with stereotypes and expectations – in ways which, it turns out, are increasingly delightful and visually dazzling.

The characters (particularly Daniel Craig‘s Joe Bang and Riley Keough‘s Mellie Logan) turn out to have wits and heart – one of only two ways to go, really, if it’s not about mean-spirited caricature and biting satire (as with, by contrast, Craig’s Bang brothers). Soderbergh always pulls engaging performances from his actors, so it shouldn’t really surprise that Logan Lucky is enjoyable, even if just on that level alone – though there is so much more to it, as is apparent perhaps not immediately, but as the film unfolds certainly.

Cinematically and culturally, Logan Lucky‘s crescendo isn’t even the heist itself, but little Sadie’s rendition of “Take Me Home Country Road”.

Speaking of performers: why is Katie Holmes not in more things?