Opiniones de Metacritic

Lucky is a film perfectly nuanced for Stanton but executed in its full potential by none other — it’s a sobering portrait dedicated to one of cinema’s greatest actors.

Everything Harry Dean Stanton has done in his career, and his life, has brought him to his moment of triumph in “Lucky,” an unassumingly wonderful little film about nothing in particular and everything that’s important

Lynch’s directorial debut is a wisp of a movie, blowing across the screen like a tumbleweed, but it’s also the rare portrait of mortality that’s both fun and full of life.

It’s a remarkable gift to fans and cinephiles that Lucky serves as a first-rate showcase for its star as well as an ideal swan song. The man couldn’t have gone out any better.

The accumulation of spot-on performances and long-familiar faces, small-town routines and dusty-worn locations, finally coalesces into a picture that’s greater than the sum of its oft-clichéd parts.

It’s a tour de force for Stanton, purposefully plodding forward, a sagebrush philosopher giving his valedictory performance, a lovely curtain call that bookends with his other famous shot at leading man — “Paris, Texas.”

A lot of Lucky is philosophical mischief, some of it is tediously ruminative, and some moments achieve a loveliness that belies the film’s craggy desert terrain, the earthiness of its characters and even the landscape of Mr. Stanton’s body.

John Carroll Lynch's Lucky is an impeccably acted yet sentimental film that’s bashful about said sentimentality.

The late Harry Dean Stanton, in one of his last roles, infuses the slightest gesture and inflection with the weight of grave experience, but this maudlin drama mainly renders his grit and wisdom wholesome and cute.

Borrowing a few biographical details from Stanton’s life, the virtually plotless drama exudes admiration for its nonagenarian muse, but it’s built so sparely that it doesn’t have much to offer anyone who doesn’t already share its reverence for the “Paris, Texas” actor.