Lucky Number Slevin (2006) is a quirky film of the 2000s thriller-comedy realm (a hybrid genre if I have ever seen one). With intro credits typical of the ‘00s, the tone was set from the first sequence.
★★★★☆
Though I’m a follower of thriller endeavours of the 2000s and 2010s (like The Contract, from the same year as Slevin and featuring Morgan Freeman as well, and The Bourne Identity franchise), Lucky Number Slevin had slipped my radar. Considering the unique style of filmmaking (there’s often a hand-held cam, non-linear chronology, and a modern aesthetic mixed with 60s inspiration for the set design) and stellar cast (Josh Hartnett, Lucy Liu, Morgan Freeman, Ben Kingsley, Bruce Willis, to name a few), it’s a real surprise Lucky Number Slevin hasn’t had more attention.
For those who liked the twists and turns of the more recent Keeping Up with the Joneses (2016), but with a bit more violence and a little less overt comedy, Lucky Number Slevin is for you. Competing gangs, a personal vendetta and a chaotic thread throughout keep you guessing about the outcome—something the choppy editing and a non-chronological narrative capitalise on. There are also converging storylines which ensure there’s an ongoing mystery. The film follows Josh Hartnett as Slevin, caught in a spiral of bad luck and mistaken identity. Although he’s taken it with some heavy sarcasm and a few chuckles, there are clearly some pretty deadly consequences; in come the mob bosses, stereotypically named The Rabbi (Ben Kingsley) and The Boss (Morgan Freeman), who make Slevin’s life pretty dire.
It’s a narrative that slowly unravels to the audience—you truly have to trust in the ride. There’s a voiceover to keep you occupied, flashbacks, a hand-held shaky cam, and repeated sequences from different perspectives. Altogether, these different POVs ensure you feel ‘in the know’ about the plot, though most of all you spend the watching experience trying to piece together the mystery of how these storylines will intersect. Ultimately, it’s that style which makes Lucky Number Slevin so fun and diverting, despite the violent and sadistic tones that could threaten the good time. Combined with a distinct and upbeat performance from Lucy Liu, Lucky Number Slevin ticks a lot of boxes.
However, one mustn’t be mistaken that these violent and fun tones sometimes give off a wishy-washy impression; Slevin neither packs a punch for full-blown laughter nor creates enough fear in the action/assassin storyline to curate a film that feels particularly intentional. When an assassination occurs, we are quickly led to the next sequence, and later, we return to its relevance. Although this non-linear structure offers intrigue, it also means that, as you watch, you fail to feel the full weight of the action. Regardless, the film feels unique enough, with decent character arcs and performances, to maintain attention. This hybrid arc of being both mellow and passive, as well as violent and dramatic, also creates a unique narrative.
Though a thriller in narrative, the wacky energy permitting the film isn’t the norm for the genre. Disjointed editing, flashbacks, and clunky cuts recall a self-awareness of the medium. The filmmakers may take you out of the moment in a bid for style and dramatics, but ultimately it works, and they don’t take themselves too seriously while they do it—just like when Slevin hits a downhill slope of bad luck.
Though Josh Hartnett’s performance was solid, a nice add-on to a diverse acting portfolio (that’s only expanded with his recent works in Penny Dreadful (2014-16) and Oppenheimer (2023)), Lucy Liu truly shone. As the charismatic Lindsey and the only woman with a speaking role, she excels. However, it’s always odd when there are no women elsewhere in the narrative. Unfortunately, typical of genres exhibiting violence and mystery, women are often relegated to secondary roles, which, in my opinion, is for the worse. Looking at the success of the recent Promising Young Woman (2020) and Atomic Blonde (2017), it’s clear that female-centred thrillers are a success—both women and men mix into these stories, like in reality, and have a lot to add. Plot-wise, Lindsey’s role grows as Lucky Number Slevin progresses and though she becomes more involved in Slevin’s drama, by the story’s end she is firmly fixed as a prop for Slevin’s own action. Regardless, Lucy Liu perfectly executed a rambling, quirky mortician with the charm and realism required of such a role. If only her character could have been offered a grander chance to be woven into the film’s main narrative.
The same can be said of Bruce Willis’ character (Mr. GoodKat), whose background and interference with the main plot remains a mystery until the web cross in the final act—with more screen time, there may have been a better utilisation of Willis’ abilities. Again, it feels purposeful in sustaining the mystery and anticipatory elements, but not so much for getting to know your character. The Rabbi and The Boss offer the trope-filled mob leader you’d expect from their names alone. They hit the mark on curating these larger-than-life figures, but compared to Josh Hartnett as Slevin, who feels unique and fresh, the leaders don’t instil the punch or the fear you’d expect from such vital characters. Perhaps it’s the writing that’s to blame, but they fall to the wayside in the interest of Slevin’s unlucky journey and Bruce Willis’ odd, off-shoot narrative.
There were some throw-away derogatory comments about women and gay men used to demean them. Though stated in a notably negative way, the comments feel too light-hearted in the context intended. Though a common, careless aspect in films pre-2010s, in which standards weren’t as highly scrutinised, it feels odd and is surely an improvement that if woven into the film, would help heighten the intentionality of Lucky Number Slevin. A comment about The Rabbi’s son’s sexuality is made in an attempt to heighten Slevin’s own comedic timing—a plotline which fell short.
A unique feature that maintains the mystery elements throughout the film is the gentle musical elements. Much like elevator music, with its repetitive instrumental tones, its constancy gave off a methodical impression, like Slevin’s journey is in constant discovery and action. However, it’s the set design along with this music that creates this different sort of thriller. With cold, metallic settings one moment (like the train station, the morgue etc.) and colourful patterns the next (like Nick’s apartment), Lucky Number Slevin curates a distinct visual narrative. Pairing the gentle music with these clear visual divisions feel like there’s always something waiting around the next turn. For example, look at Mr GoodKat’s introduction: there are flashes between his conversation with an anonymous character in a train station—imagine cold and metallic—and the warm tones of a flashback documenting another man’s downfall. In each, there are slow instrumentals and clear set differences that create a purposeful, well-rounded thriller/dark comedy.
Full of classic tropes, red herrings, mystery interwoven into the essence of the film, stylised editing and flashbacks, Lucky Number Slevin is your next surprise watch. Though the simplicity of those tropes didn’t always garner the appreciation intended, it was the other seasoned tropes which picked up where the villains didn’t.
The Verdict
A wild ride, Lucky Number Slevin is surprising, despite the trope-filled plot. With a standout performance from Lucy Liu and Josh Hartnett maintaining a steady lead, Lucky Number Slevin is your next must-watch from the hybrid/thriller genre.
Words by Annabel Smith
Lucky Number Slevin is on digital platforms 4 September
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