Film criticism

Michael Polish (

• Early in the film, one of the characters references the town of Twin Falls. Twin Falls Idaho (1999) was the Polish brothers’ first movie.
• The first movie shot on 24P HD Videotape ever to be released in Theaters on 35mm film. (Star Wars: Episode II – Attack of the Clones (2002) followed, a year later.)
• In one of the karaoke bar scenes, when Garrett Morris’ character is bargaining with the guy to trade songs, he suggests that the guy sing “Baby Don’t Get Hooked On Me” by Mac Davis. The man he is speaking to is, you guessed it, Mac Davis.

2) Even more than the previous, awesome movie by the Polishbrothers, “Jackpot” presents a quiet, even-keeled portrait of what atfirst seem like a ridiculous pair, but who’s sincerity and refusal togive up makes you admire them. There’s a kindness to the ironicview that is a relief; the characters are not exaggerated or spoofedinto cartoon-condition, their audiences aren’t either. The tone of thefilm is respectful yet ironic – a healthy mix. The cinematography is nothing less than beautiful, again as wasthe previous film from M & Polish, “Twin Falls Idaho”. Samecinematographer, David Mullen, but this time the movie originatedon 24P, high-definition video, and was converted to film. It’s reallyvery beautiful, the tones are just right, the look doesn’t distract fromthe story at any time, but if you care for such things, it is really avisual treat.I think the movie might have gained from a little ‘scissors action‘towards the end it started to drag a bit, but not enough to changethe fact that this is a wonderful and completely enjoyable movie inmany ways.

3) The Polish Brothers’ "Jackpot" is a unique and well crafted, butunfortunately flawed little movie about determination and the weight carriedthat can cause one to let go of their dreams. It is as entertaining as it islong, but endless on creativity. It is a bizarre, unpredictable trip following a mysterious kareokesinger named Sunny Holiday and his even stranger counterpart Lester Irving. Both are pathetic in their obsessive desires, but also oddly motivated. Sunny was a family man who sets out to find himself, and a future singing atbars and lounges. He does have his success, mainly because of Irving’shelp. The film has an ironic, sarcastic tone, floating across the Mid-Westernlounge scene introducing many wonderful characters. The Polish Brothers areexcellent filmmakers and add a distinct humor and style to this originalsophmore effort. At times the film seems aimless, and going in circles (or not anywhereat all)…it seems to go on for a very long length yet it manages toeventually take off with the help of a lot of clever ideas (notably thebrilliant structuring). But the greatness in storytelling makes "Jackpot" aone of a kind winner. It is such beautiful and original filmmaking. Life onthe road is captured with such a genuine feel as the two mysterious mendrive about in their pink car and encounter many weird and appealingcharacters. The high definition cinematography is pretty amazing aswell…reminiscent of Kubrick’s "Eyes Wide Shut."

4) This film is not just that typical on the road Middle America odyssey, withfrequent stops in kitschy bars and dusty diners.Jackpot has a well written script with a strong focus on characterdevelopment and interaction. Gries and Morris work well together as afly-by-night duo. Gries’ goofy but personable character allows his mediocresinging to be quite intriguing. The witty dialogue was enjoyable andconsistent throughout the film. Most notable is Garret Morris’performance.The film was a clever attempt to show two zealous characters struggle foran unrealistic, waste of a goal. You can’t help but be envious of theircarefree attitude and at the same time loathe their divergence from idealresponsibilities. It’s realism allows for a vicarious experience and anappreciation of great screenwriting.

5) This flashback, head trip style is confusing at first but really worksat the story unfolds. Once we find Sunny Holiday (Jon Gries, greatjob by the way) sitting in his car rewinding and fast forwarding histape over and over until finally interrupted by his karoake tourmanager, Les (Garrett Morris) you realize he is as obsessivecompulsive as his brother (played by Anthony Edwards and RickOberton).

Funny moments besides a few fart jokes include Mac Davis notfeeling his own real life his BABY DON’T GET HOOKED ON MEdoes not feel right for him.

6) Attached to every dream there is a ticking clock, an acceptablewindowof opportunity. When that window closes it’s time for the dreamer to"Giveit up", and "Get a life", or run the risk of society labeling them apathetic loser. An unfair stigma if you ask me. Jackpot’s Sunny Holiday(Jon Gries) is one such dreamer, whose dream it is to make it big as asinger. His unorthodox means to that end is to hit the road and competeina string of Karaoke contests, which he and his manager Les (GarrettMorris)hope will bring him exposure and much needed prize money to keep the showonthe road and the dream alive.

It’s a seemingly harmless pursuit, but society has another label forSunny – "deadbeat", as in "deadbeat dad". Unless slipping the odd lotteryticket into the mail from time to time is considered acceptablefulfillmentof child support obligations, Sunny falls a little short in the parentingdepartment. But he means well, dammit, and if, as they say, "the road tohell is paved with good intentions", then that must be the road that Sunnyand Les travel down in their pink 80′s model New Yorker, en route toJackpot, Nevada. It’s a road littered with broken dreams and brokendreamers, and paved with the cruelty of hope. The hope that lies in everynew town, where there always awaits a new contest, a new chance to win andanew chance to forget the past and make everything all right.

Jackpot, the second offering from Mark and Michael Polish (Twin FallsIdaho), is a wonderful, often hilarious and oddly touching film. Drivenbythe inspired lead performances of Jon Gries and Garrett Morris, anddeliciously peppered by a never-ending string of cameos and supportingturnsby an eclectic ensemble cast that includes Daryl Hannah, Patrick Bauchau,Peggy Lipton, Crystal Bernard, Mac Davis, and Anthony Edwards, Jackpot isarefreshingly original tale full of heart and humor and told with astunningvisual style and a dreamy vibe that has the Polish Brothers’ thumb printsall over it. A rare film, this is the type of movie that reminds me whymovies are made. I thoroughly enjoyed Jackpot and recommend it veryhighlyto movie audiences this summer…and beyond.

7) If this was 1972, Jackpot would star Jack Nicholson as a talented, but downon his luck musician searching the dusty corners of the country looking forhis big break and the pieces of his squandered life. Critics would hail itas being gritty and brave. But Jackpot takes place in the here and now. Andwhile it’s hero is searching the dusty corners of the country looking forhis big break and the pieces of his squandered life, he is utterlytalentless, mean spirited, self centered, and a pathetic jerk to boot.Needless to say, critics did hail Jackpot in the least. Which, I can’t blamethem for. A year and a half ago I left the theater feeling I experiencednothing more than a loss of $10. I felt the film was pointless, aimless, andwithout any real payoff. But, after 5 blocks on the walk home I realized, soare the lives of the characters.

Therein lies the beauty of the film. It’s the man behind the legend thatwas never a legend to begin with (except in his own mind). It’s a ’70santi-hero film except with the sense to show the "hero" for who he reallyis. Not a tortured genius. But, only a loser with delusion of torturedgenius.

And, upon repeated viewing it’s aimlessness becomes invisible. In fact, thescript is militant in it’s tightness. But, the direction never chooses tohit you over the head with it’s plot or it’s points.

Instead, opting to throw them about almost offhanded, allowing them to seepin (as it did for me, and perhaps not for others).

Jackpot is rich in it’s rewards to those who pay attention. And besides,any film that can go from being terrible to great in 5 blocks has to beworth something.

This film is not just that typical on the road Middle America odyssey,withfrequent stops in kitschy bars and dusty diners. Jackpot has a wellwrittenscript with a strong focus on character development and interaction.Griesand Morris work well together as a fly-by-night duo. Gries’ goofy butpersonable character allows his mediocre singing to be quite intriguing.Thewitty dialogue was enjoyable and consistent throughout the film. Mostnotable is Garret Morris’ performance. The film was a clever attempt toshowtwo zealous characters struggle for an unrealistic, waste of a goal. Youcan’t help but be envious of their carefree attitude and at the same timeloathe their divergence from ideal responsibilities. It’s realism allowsfora vicarious experience and an appreciation of great screenwriting.

9) In "Jackpot", the Polish brothers tell the story of a character who ismorecurious than interesting – a soap-selling professional karaoke hustler(Gries) with his own agent (Morris) and impossible dreams of making it asapop singer. The film has a good premise and an excellent execution but isdoubtless destined to be one of those fringe indies with earnest integritywhich flies in the face of limited market appeal. An enjoyable watch forthose into films about quirky, down-and-out type characters.(B-)

10) This film opens with a SNAP! Love the crazy use of the old carcassette player to rewind and fast forward us through the thoughtsin Sunny Holiday’s otherwise empty head. Jon Gries, who playsSunny, is excellent.

However, the movie slows down a bit from there. Loved thesinging, the one night stands, the poetry readings that are voiceover, but some of the chit chat that happens in the long inbetweens, though funny at times, looses you. Cut cut cut.

The camera work is a little static and dull, though the set design,wardrobe and editing are exciting. Just when you were bored orsquirming in your seat, Sunny hits the rewind button and bringsyou back to life.

The movie gets fun in the end when Sunny meets up with hisequally dysfunctional brothers, played by Anthony Edwards andRick Oberton.

Go see if for the dirty jokes and go see it for the technology. Greatuse of the new 24p hi def medium.