Lucky (2026)

With every element of the show firing on all cylinders, Lucky is poised to become as hot as a suitcase full of stolen cash.

It speaks to the strength of Taylor-Joy's performance that she makes it easy to forget that anyone with a face as distinctive as hers might have a hard time remaining inconspicuous. .... Taylor-Joy is surrounded by an equally strong supporting cast. .... There's a thrill to watching Lucky work her dark magic, but the show, like its protagonist, understands the emptiness that sets in once the thrill fades away.

Tropper and Pappas put twists in all the right places, effectively controlling viewers’ access to characters’ motives, loyalties, and backstories without coming across as manipulative. Larger questions arise organically, about parents who put their work—whatever it may be—before their children and about good vs. evil vs. the limitations of binary morality. There are many strong performances.

All seven episodes of “Lucky” feature heart-racing sequences that rival those of any worthwhile high-voltage thriller. Still, the show maintains its dynamism because it remains character-driven.

This is mainly just a heart-thumping ride, defiantly undemanding but enjoyably brainless fun.

Apple TV's crime drama "Lucky" is a pulse-pounding thrill ride, powered by a killer performance from Anya Taylor-Joy.

When the focus is tight, it's great. When the focus starts to loosen just a little, even when it's in service to getting to know Lucky a bit more, the series feels slightly lost, like it feels obligated to place these scenes somewhere even if its heart isn't in them.

Perhaps the premise was better suited for a two-hour movie, instead of seven 45-minute episodes of meandering TV. .... But at least it comes with a propulsive start, a charming antihero in Olyphant, and that killer Fiona Apple track.

Lucky sidesteps what could have been something a bit sharper and more original in favor of its tale of familial issues, mobster mentality, and individualistic corruption.

Ultimately, Lucky never quite adds up to more than the sum of its impressive parts.

Jonathan Tropper’s take on the material is half frivolous lark, half self-important commentary, wholly nothing in particular, though Anya Taylor-Joy and a solid ensemble cast work hard to swim against the underdeveloped stream.

While a few ideas do successfully land, most of Lucky's concepts fail to stick, resulting in a lackluster series that had all the potential to be great but ultimately misses the mark.