SOOOOOOO Sorry for calling it a movie - thats a diservice to movies.....
It was rubbish and whilst HBO may have produced some fantastic shows this does nothing for the game of racing other than to compound views that racing is corrupt, run by mafia types and every 3 races a horse will suffer a catastrophic breakdown and be PTS.
Dont believe me..... read the Guardian review from the weekend
"Set in and around a California horse-racing track, Luck, Sky Atlantic's latest star-encrusted US drama, might be another example of brilliant American television, to rank alongside The Sopranos and The Wire, or a piece of beautifully filmed and immaculately acted nonsense. It's hard to tell. Or rather, it's hard to hear.
Any show that features Dustin Hoffman and Nick Nolte was always going to make large demands on the listening viewer. Hoffman is one of the great mumblers of modern cinema, and, outside of the animal kingdom, Nolte is unrivalled as a growler.
But it's not just them. Every character talks as if intelligibility were a sin. Nor is it simply a matter of articulation. It's also the language, a murky mix of gambling slang, horse-racing lingo and wise-guy riffing that, even after two or three playbacks, left me baffled.
These are the things that I think may have happened, but I wouldn't wish to be held accountable for anything so bold as a plot synopsis. Ace Bernstein (Hoffman), a tightly wound Jewish hood, was released from prison and he bought a race horse. A group of four hardened gamblers formed some kind of betting syndicate that netted $2.5m. One of the gamblers was played by Ian Hart, fulfilling the apparent HBO series stipulation that at least one British or Irish actor plays an American. Which was just as well, because Hart's accent was by a long way the least difficult to understand.
There was also a Peruvian trainer, Turo Escalante (John Ortiz), who was in a permanent foul mood, as, in fact, was every one else – especially the syndicate winners, who behaved as if they'd lost a couple of million. If what's said is incomprehensible, it's at least clear that it doesn't involve any kind of civility.
In a strong field, you'd be tempted to back the Peruvian to win in the most opaque speech stakes. He said things like, "Jew doe knee noah steek," (which I think was a racing, not a religious, instruction) and, "Ees dis morning today or disafternoon?" And in the second episode, which I watched in a vain attempt to gain a better grip of proceedings, another character quips to Escalante: "I must need a vacation: I just heard everything you said."
If even other characters are complaining, then Ortiz has to be leading his fellow actors in the dialogue handicap. However that would be to reckon without Nolte, who plays a Kentucky horse owner. That voice! Wittgenstein said that if a lion could talk we still wouldn't be able to understand him. Perhaps he meant that it would sound like Nolte. It's like listening to someone dry gargle. You'd get better diction from a cement mixer.
The series was created by David Milch, whose credits include NYPD Blue and Deadwood, and the pilot was directed by Michael Mann, of Heat fame. That kind of form commands a certain degree of respect and therefore audience perseverance. And there is no doubt that it's exquisitely shot, with some of the most electrifying images of full-speed thoroughbreds ever committed to film.
But unlike The Wire, which energetically encouraged the ear to tune in to a different subcultural register, Luck offers no such invitation. It's a big bet that refuses to make itself favourite. That may well be laudable. But it most certainly isn't audible."
