4 out of 5

Director: Paul McGuigan

Some movies are so tricksy turny that actual plot gets forgotten. Some movies get so caught up with gotchas that they forget to do anything else interesting. And some movies desire so steadfastly to be cool and confusing that you’re gagging from the opening credits forward. Might you feel that way about Lucky Number Slevin? It’s possible. But for me, it struck just the right chord between silly and serious, clever and calamitous, and further alliterative examples. Here’s what you know of the plot: Josh Hartnett is named Slevin. Slevin gets caught up in a case of mistaken identity – for his friend Nick – and now owes two mob bosses millions of dollars, is contracted to kill one mob boss’ son, is followed by goons from both sides to make sure he stays on task, and is being investigated by the police for being spotted with all these shady characters. How does the assassin Goodkat (Willis) fit in? What’s a Kansas City Shuffle? In Ebert’s review, he remarks on how the film seems to think it’s smarter than the audience, withholding information purposefully just to make things complicated. But there’s something so friendly about the characters and the play-like banter of the dialogue that I never felt like the writer or director were looking down upon me from on high, but rather wanting me to join hands for the ride of the movie. Plus the poppy middle stretch is weighed down by some very serious opening and closing bits, which make the movie tonally notable and also gives heft to the big reveal of Why. Production design is gorgeous and awesome, and all of the actors are effectively cast. It starts to miss marks in its last portion because it really… slows… down… to put all the pieces out. Which is appreciated instead of rushing it during the credits (hi there, Wild Things), but causes you to wonder how much more to go until fade to black.