In cinemas December 25th in the US and January 23rd in the UK!
A nice surprise? Or an overly wordy gamble on a remake that missed the boat? Well that all depends on what you’re expecting because this film is not what you think it would be. While the feel of the story is far from the original and with much less action, it is a very smart and philosophical film that doesn’t over glamorise the gambling world or the allure that it has. Mark Whalberg stars as son of a wealthy family Jim Bennett, a highly intelligent literary professor and high-stakes gambler who epitomises self loathing. During the film Bennett sinks into debt with gangsters and loan sharks as he gambles everything away on his path to self-destruction.
It is his own knowledge and understanding of his situation that makes it gripping to watch, only when his actions start to threaten the lives of those around him do we see that he actually has cares and begins to take some responsibility. However by this point he’s in so deep that getting out might cost him everything, “The only way out is all in” so to speak. The stakes are high and the use of violence in the film is cleverly placed so to keep the focus off of the action and instead make the audience focus more on what drives this man to be the way that he is, on the fact that he just can’t help himself and so has almost resigned himself to the inevitable.
It is the subtleties that hold the key to the success or failure of this film, and whether or not each viewer will enjoy it. A great piece of cinema but once that most likely not everyone will enjoy. It might just be the most subtle thriller out there; it is not about the rush of addiction but instead about the consequences and the loss that it creates. Mark Whalberg may not be perfectly cast in this role but he delivers an absolutely stunning and believable performance. Jessica Lange as his mother delivers an equally incredible performance in a way that is almost heartbreaking, while John Goodman and Michael Kenneth Williams stand out in their gangster roles, bringing the darker consequences of Bennett’s actions into sharp focus.
There is something almost poetic as the film counts it’s timeline down to finally reach the deciding roll of the dice, and it is the philosophical dialogue and Whalberg’s exceptional characterisation that keeps you invested in the outcome.
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