THE STORY – In May 1984, an unemployed ice cream truck driver steps onto the game show Press Your Luck harboring a secret: the key to endless money. But his winning streak is threatened when the bewildered executives uncover his real motivations.
THE CAST – Paul Walter Hauser, Walton Goggins, David Strathairn, Shamier Anderson, Patti Harrison, Masie Williams & Johnny Knoxville
THE TEAM – Samir Oliveros (Director/Writer) & Maggie Briggs (Writer)
THE RUNNING TIME – 90 Minutes
What is it about game shows that are so alluring to audiences around the world? Is it just filler for daytime television that helps make the time go by, or is it the aspiration of any viewer to be in the participant’s shoes? Plenty of game shows have become synonymous with pop culture because of the adorations of millions of fans. Look at series like “Jeopardy,” “The Price is Right,” and “Who Wants to be a Millionaire.” One series that may be living in the shadow of those series is “Press Your Luck.” While many aren’t aware of this series (excluding Elizabeth Banks, who hosts the currently airing reboot), even more aren’t aware of the scandal that happened on that series forty years ago. Clearly, filmmaker Samir Oliveros is, and now he wants the world to know with his outstanding new feature “The Luckiest Man in America.”
It’s 1984, and Michael Larson (Paul Walter Hauser) made his way from Ohio to sunny California in his beat-up ice cream truck. The former ice cream delivery driver (who clearly is hiding something) is now given an opportunity to clean up his shaggy appearance, get a suit jacket, and star on his family’s favorite game show, “Press Your Luck.” And once things begin to turn in Michael’s favor, chaos ensues as a slew of personalities behind and in front of the camera battle to prevent him from doing what no one has done before. What follows in “The Luckiest Man in America” is a semi-thriller biopic that’s not only incredibly engrossing but should please most of the people who watch the film. For only his second film, Oliveros crafts a pretty tight drama with audiences’ interest piqued from the beginning and never loses it for a moment. Oliveros maintains a steady rhythm of tension from the film’s excellent pacing and balances humor with its naturally funny source material.
For a relatively compact film, “The Luckiest Man in America” excels on almost every technical level. From the way the “Press Your Luck” set is recreated with the fantastic production design to the free-flowing yet calculated cinematography from Pablo Lozano, it immerses viewers into the debacle itself. It comes off as if you’re in the chair with Michael himself (especially as he spends plenty of time on it throughout the film’s duration). Also, enough cannot be said about John Carroll Kirby’s fantastic soundtrack. The Grammy-nominated musician brings in a synthy score that manages to hit every perfect note. The screenplay that Oliveros co-wrote with Maggie Briggs is also up to par with the direction he brings to the project. There is plenty of meaty material for this terrific cast to bounce zippy dialogue with one another. It’s essentially a cat-and-mouse game of producers fighting to keep their show going and figuring out how this mysterious man is cracking what many across the world deem impossible. The screenplay for “The Luckiest Man in America” also gives Hauser a platform to deliver a performance that feels like only he could have brought to life.
It wouldn’t have the same effect if he wasn’t leading the film. Hauser’s work is, without a doubt, the best work he has delivered in a movie so far. Hauser effortlessly uses his everyday guy-isms to bring to the screen a more tender side that hasn’t always been asked of him in his career so far. Watching Hauser’s eyes dart across the screen game board and drive the people behind “Press Your Luck” is always enjoyable. Of course, Hauser brings his signature nervous energy to the role that meshes so well for someone literally about to be on television sets across the country, as well as the internal pressure brought upon himself to even compete in the first place. Even though Hauser is lights out in the film, “The Luckiest Man in America” stealthily has one of the better ensembles of a film in recent memory. It’s nice to see Strathirn star in a film that is not only good but also utilizes him to his best abilities. Everyone else equally knocks it out of the park for what little screen time they have. It can be considered sparingly, but it’s also intentionally economical. The level of quality from the entire ensemble is also a testament to how well Oliveros’ sense of casting is. For example, Walton Goggins is playing a television host, which makes perfect sense. Goggins brings Peter Tomarken to life with his signature pearly white smile and charm, and he even rocks a hilariously lousy comb-over. The same could be applied to Johnny Knoxville, who appears briefly in the film, swapping out his usual comedic routine for a slightly poignant outing. It should also be mentioned that Shamier Anderson should be cast in more things because he’s also great here as well.
Despite everything that goes right, some people might not appreciate the end unless they’re willing to do some Wikipedia deep-diving afterward on their own accord. It can be acknowledged that there may be a certain clarity lacking, especially with a questionable final frame, but it will work for some audience members.
