Paul Elliott’s review published on Letterboxd:
Director Natasha Kermani sways into the conventions of the slasher genre for Lucky, a surreal fantasy that serves as an allegory for the intimidation women frequently get as they fight to progress independently, even in the era of the Me Too movement.
Brea Grant, who also penned the screenplay, stars as May, a successful self-help author, becoming awakened by an intruder outside her residence. She finally overwhelms him, but he vanishes when she takes her eyes off him. Finding herself incapable of being taken seriously by the authorities, who doubt the situation, and encountering an incredible calmness over the circumstances from the people around her, she finds herself stalked every night by the intruder. Fortunately, May is more than capable of defending herself and becomes locked in a constant struggle to maintain her own life as he repeatedly tries to kill her.
The collaboration between Kermani's direction and Grant's writing apprehends the extreme frustration of being ignored and dismissed in the face of being terrorised. May's life soon unravels into spiralling cycles of victim-blaming and gaslighting, with the film beginning to tease suggestions of mental health and domestic abuse as it advances towards the supernatural. It's a smart and well-paced film that creatively draws on familiar slasher tropes and Groundhog Day disparities; only time is not reset but repeated, managing to subvert expectations and puts it's ideas forward in a fresh and relevant light.
Grant delivers a fantastic performance, and her exasperation and weariness become increasingly noticeable. It ambles an entertaining line between subversive humour and metaphorical horror as it exhibits the abuse that many women experience on an almost day-to-day basis. With the film being an extended metaphor, it has moments where it struggles to stay afloat, and it inevitably fumbles on occasion. Despite this, it's a pointed satire that proudly wears its aggressive feminist message on its sleeve and manages in being both simultaneously absurd and extremely serious.