Lucky Them

The premise of Lucky Them could have been used to mine revelations about the mythos of fallen or simply mystical musical icons in general, but instead opts to be a pleasant, albeit slight, road trip dramedy. The underground music scene only serves as a backdrop of sorts. The main focus is on Colette, who manages to sustain a likability to her character without sacrificing a healthy dose of multi-dimensional-ism. The plot is absurd and the side plot featuring her relationship with an up-and-coming musician feels undernourished. There is a criminal under-usage of Platt and what laughs there are to be had aren't more than chuckle-inducing, but no matter. Lucky Them doesn't pose as a more ambitious film than it is and it succeeds on the terms it establishes early on: to be light, endearing, intelligent, and, at the very least, diverting. The finale inserts an unexpected depth (and an unexpected cameo) into this story that raise it from the depths of mediocrity, but just barely. Worth checking out for Colette and, I forgot to mention, Church's scene-stealing rich-boy antics.

This could be an enjoyable film if you're into baby boomer nostalgia -- you know, the idea that you might not have lived through the '60s (or '70s) if you actually still remember them. Certainly lacks the fun of "Almost Famous," especially since Toni Collette's rock 'n' roll writer is a sad sack who thinks her magazine (think Rolling Stone) owes her a living. Still, she, Thomas Haden Church and Oliver Platt are supremely likable and make it an OK story ... pursuing their own wacky paths that may or may not end up where you think.