Molly's Game

The She-Wolf of Wall Street. A little less wild, more restrained, laced with feminine charm, glamour and beauty throughout. Jessica Chastain plays a character that she can do and that her fans want to see her in as often as possible: a confident and ambitious career woman. But in this story she has a healthy hand and in the end she plays fair and keeps her feet on the ground. A courtroom procedural with lots of flashbacks offering several levels. The one in present time when the interrogations take place, the social probe among billionaires and their hobbies, one quite chilling act of violence and of course the emotional level. Much to my surprise, there is no love thread, which, given that this is a 140-minute analysis of one character, may be lacking, but it doesn't detract from the experience. Basically, you could say that all the slice-of-life trappings that we love about these everyday reality films are here. A bit simplistic and downplayed at times, but it still satisfactorily fulfills the checklist of attributes expected of a great film. In his old age, Kevin Costner has decided he will play only very charismatic blokes with attitude. (27/01/2018)

I will skip the traditional (and justified) criticisms of Sorkin's original monologue-dialog reclamation style, because you either love it or hate it. And the same could be said about this movie. Moreover, Sorkin even highlights his strength (or weakness as you wish). And as a result the aspects that the better directors adapting his material in the past always tent to hide somehow, is even more noticeable here. Anyway, there´s still a lot to be unhappy about. It 's longer than it should be, there' s a lot of stylized passages à la The Big Short with dialogs, which are directed like in a theater. Molly comes out of it too positively (it 's too genteel), her personal life is omitted (which would have been fine if it had not been too obvious that´s essential ) and it lacks a proper ending. Which is related to the fact that it may have come about with too little distance from those events, in other words, not everything is / can be / wants to be said. But at the same time, it is true that Molly's destiny is so captivating and stimulating that it would manage to handle even a significantly worse movie than the one made. In addition, Jessica and Idris are Sorkin's refined replicas and they both obviously enjoy it a lot. And myself as well. (05/01/2018)

Just as watching a film from the normalization era doesn’t turn me into an avid communist, I don't become a seasoned criminal when watching stories about "heroes" from the underground world, so I can safely say that I really enjoyed the one hundred and forty minutes of gambling/money-laundering with Molly. The running time seemed terrifying, but unlike other similarly long films, it didn't bore me, and the plot was interesting from start to finish. A well deserved five stars. (06/01/2019)

The way Aaron Sorkin works with the medium of film, script-wise, is fascinating. I understand that some may see it as Sorkin almost "raping" the film medium in places, and actually "just" pushing the envelope with extremely structured dialogue, but that would be too simplistic. Emotionally, I saw it as almost a "scientific work" at times, with surgically precise details and monologues/dialogues crammed with an incredible amount of information. The opening scene alone is a massacre and a hell of a workout in terms of your attention if you yearn to take in everything. Of course, this directorial debut isn't without its faults, because despite the polished dialogue, the whole thing loses pace in a few places and the character work is a bit underdeveloped here and there. Still, it's an incredible ride, backed up by the perfect Jessica Chastain (the MILF designation takes on a whole new meaning), who really just shines here, acting and otherwise. A strong 4 stars. (28/06/2018)

This time round, Sorkin served up his machine-gun screenplay himself and it must be said that it is Mr. Fincher’s school that had the greatest influence on his style. We jump gracefully in time, the cadence of information is textbook standard and the story doesn’t sacrifice intelligence to emotions. The actors take delight in each line and Pemberton’s music is excellent again. At last the girls have someone to look up to. Great. Table in Excel. (11/02/2018)