In spite of the prevalence of online betting these days, gambling remains very much a vice with crippling consequences that can be devastating for individuals and their families. Gillian McKercher’s second feature film, Lucky Star, specifically considers the mistrust that lingers long after the debts have been paid in a gripping family drama set in Calgary, Alberta.
Reformed gambler Lucky (Terry Chen) finds himself in another pot of hot water when he becomes a victim of tax fraud, in large part because of Lucky’s awareness of money owed to the Canada Revenue Agency (CRA). An awareness not communicated to his wife, Noel (Olivia Cheng).
Coupled with money owed to the city for a multitude of tickets accumulated on his vehicle, Lucky’s luck is nonexistent as one financial obligation stacks upon another. As her husband tries to bring himself into the black, Noel and their oldest daughter Grace (Conni Miu) become suspicious that Lucky’s absence at home, his pleas for cash from Grace, and a maxed out joint credit card all point towards Lucky’s return to the vice that created a storm his family barely weathered.
The front end of Lucky Star unravels at an incredible pace that keeps audiences engaged with Lucky and his family’s plight. Our frustrations with Lucky become palpable as we internally scream all of the blatant solutions in front of him that could put him on a better path and doesn’t involve rejoining the poker table. McKercher (also serving as screenwriter) presents many of these solutions, whether through a call from the actual CRA or through Lucky’s friend Darren (Andrew Phung), which transforms Lucky from being a dense character to one of striking and relatable complexity.
McKercher and Chen together formulate Lucky as an individual, not necessarily driven by an egotistical need to resolve this issue by himself, but as a man who understands the mistrust he’s deservedly attached to himself in the eyes of those who know him best. It’s a more nuanced portrait that grounds the film in what could have been a purely frustrating film to absorb.
Lucky Star wraps up rather abruptly, but that doesn’t detract from the impressive groundwork laid. Heartfelt performances across the ensemble ( Cheng as Noel being a personal favourite) and a compelling narrative render Lucky Star a worthwhile character study and exploration of overcoming our mistakes and the scars left behind.
The 28th edition of the Toronto Reel Asian International Film Festival runs in-person and online November 13-24. For tickets, scheduling, and other details about this year’s programming, visit the festival’s website.
