Logan Lucky, director Steven Soderbergh first film after stepping away from the big screen for several years, is an odd duck. Tonally strange, it falls somewhere between a mainstream blockbuster and avant garde restraint. The story is a classic sort of heist caper that could be played up for maximum broad effectiveness (a la Soderbergh’s Ocean’s films), but instead it’s played straight with nary a wink or nod to the audience. It vacillates wildly between outlandish silliness, dry humour, and high drama, speeding up or slowing down whenever it feels like it. As a result of such shifting, Logan Lucky is an uneven movie, but also a thoroughly fascinating and consistently enjoyable one.