Anya Taylor-Joy’s Brilliant Performance in Apple TV+’s Aimless Drama: A Look at the Miniseries ‘Lucky’

According to CinemaDrame News Agency, film critic Imogen Scott writes in an exclusive op-ed: Apple TV+’s new seven-episode miniseries Lucky—produced by Reese Witherspoon and written by Jonathan Tropper—is an adaptation of Marissa Stapley’s novel that ultimately fails to forge a distinct, cohesive identity or a defined tone despite boasting an illustrious and capable ensemble cast. It is a show about a con artist with shifting identities, yet the series itself suffers from a profound identity crisis.

The narrative centers on a young woman named Lucky, played by Anya Taylor-Joy, who was raised in the underworld of crime and deception by her grifter father, John (Timothy Olyphant), who is currently incarcerated. Lucky and her husband, Cary (Drew Starkey), are on the verge of fleeing the country with a suitcase packed with 10 million dollars in cash—the spoils of a massive oil scam that her father stole from her grandmother, Priscilla (Annette Bening), and a ruthless mob boss named Whitaker (William Fichtner). However, after Cary suddenly vanishes one night, Lucky finds herself in a perilous predicament: she must now outrun both Priscilla’s henchmen and a relentless FBI agent portrayed by Aunjanue Ellis-Taylor.

In this adaptation, Jonathan Tropper discards nearly all the novel’s pivotal plotlines, including Lucky’s quest to find her biological mother and the storyline involving a winning lottery ticket, instead stripping the plot down to a three-way cat-and-mouse chase. The premiere episode, directed by Jonathan van Tulleken, boasts a high-octane, suspenseful rhythm reminiscent of Run Lola Run, with Taylor-Joy infusing the show with dynamic energy as she constantly alters her appearance with various disguises and wigs. Yet, by the midpoint, the screenplay succumbs to repetitive narrative beats and unnecessary padding. Despite the powerhouse actors involved, the supporting characters lack sufficient depth; Priscilla remains a one-dimensional antagonist notwithstanding Annette Bening’s solid performance, and her verbal sparring matches with Whitaker never transcend genre clichés.

The absolute saving grace of the series is the stellar work of Anya Taylor-Joy and Timothy Olyphant. Taylor-Joy masterfully captures Lucky’s intricate blend of vulnerability and sharp wit, while Olyphant effortlessly channels the rogue charm and cunning of an archetypal veteran con man. However, Tropper’s attempt to inject heavy moral quandaries and philosophical questions like “Are we bad people?” falls flat due to the superficial development of the characters asking them. Ultimately, spanning seven episodes, Lucky never rises above the level of a mediocre, passable diversion—albeit one elevated by a memorable soundtrack from Fiona Apple—leaving the immense potential of its star-studded cast somewhat squandered in the shadow of an aimless drama.