In Steven Soderbergh’s latest heist movie, Logan Lucky, “cauliflower” takes on special significance as a code word for criminal confederacy among the brothers Jimmy and Clyde Logan (Channing Tatum and Adam Driver). Don’t call them country bumpkins; the Logans are more like Robin Hood, by way of The Andy Griffith Show. When we first meet them, they both have honest jobs, but then Jimmy’s construction foreman sits him down and tells him, “I got to let you go.”
This is the inciting incident that sets the brothers down the path to a renewed life of crime in Logan Lucky. It seems someone in human resources saw Jimmy limping on the job, and now “the folks over in the big office” have decided his old football injury is an insurance liability. He’s fired for having a pre-existing condition, even though his disability is minor compared to Clyde’s loss of an arm in the Iraq War.
For the Logans, the cost of living in the USA is almost literally an arm and a leg. Jimmy’s construction job positions him as one of the working-class people who have helped build this country, laying down its infrastructure, but the American dream has failed him. Teaming up with the prison-striped safecracker, Joe Bang (Daniel Craig), and Bang’s own bumbling brothers, he and Clyde hatch a scheme to rob the Charlotte Motor Speedway, which has a cash highway flowing into its main vault via pneumatic tubes. Over the course of two hours, what emerges in Logan Lucky is a caper that lightly interrogates the spoils of capitalism, as if that were the true code word to unlock the movie’s themes.
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