The Gambler (2014)


Mark Wahlberg's agent is dead to him after getting him this movie.

Mark Wahlberg’s agent is dead to him after getting him this movie.

(2014) Drama (Paramount) Mark Wahlberg, Brie Larsen, Michael Kenneth Williams, John Goodman, Jessica Lange, Anthony Kelley, Alvin Ing, Andre Braugher, Domenick Lombardozzi, George Kennedy, Lauren Weedman, Leland Orser, Richard Schiff, Griffin Cleveland, Steve Park, Da’Vone McDonald, Amin Joseph, Josiah Blunt, Shakira Ja’Nai Paye, Melanie McComb. Directed by Rupert Wyatt

Gambling is part of the human psyche. Not all of us our gamblers but at least once in our lives we all take a chance on something. Some, though, can’t live without the rush. The bigger the gamble, the bigger the thrill. Who doesn’t relish the thrill of hitting 21 at the blackjack table when you’ve put your entire bankroll in, or of hearing that girl whose league you’re so far out of that you’re actually playing a different sport say yes when you ask her out?

Jim Bennett (Wahlberg) is a gambler, a compulsive one. He goes to underground casinos and bets whatever sums of money he can get his hands on – usually borrowed. He’s a college professor by day (of English literature) and by night, he plays blackjack and roulette. He can go up by hundreds of thousands of dollars and then lose it all on one bad hand. He is a smart cookie for sure, but a self-destructive one as well.

He owes money to three very bad people; Lee (Ing) who owns the underground casinos that Jim gambles in (we can assume that most respectable casinos will have banned Bennett from their respective properties), Neville (Williams) who puts the urbane in urban as a gangster who, when the original movie that this is based on came out would have been portrayed in a Superfly hat with a ‘fro from here to waaaaaaaay out there, baby and the third is the most badass of them all – Frank (Goodman) who is fatherly and vicious at the same time. He is the loan shark with a heart of gold, trying to talk Jim out of borrowing money from him which is a little bit odd considering that Frank makes his millions from chumps like Jim borrowing money from him.

Jim’s mom (Lange) is the daughter of the founder of a bank and has wealth oozing from her every pore and dripping from her empty smile. She knows she has been enabling the beast all this time and when Jim comes to her for a loan of well over a quarter of a million dollars, her first instinct is to slap him across the face (which, I might add, he deserves). Like the enabler of any addict, she hopes that this time he will use the money wisely and take care of his debt and start a better life for himself but we know, he knows and she knows that just isn’t going to happen. Not yet. And when Jim tells her essentially to go away and not talk about his problem, she does, weeping for a moment before her mask of iron control slams down on her face and she walks away with what dignity she can muster and Jim (and we) don’t see her again.

Jim has been latched onto by one of his students, Amy (Larsen) whose talent Jim recognizes but in typical Jim fashion he attempts to tell what he conceives as the truth (and may well be – he’s a pretty smart guy) but in such a way that it alienates virtually everyone else in the class. There’s also Lamar (Kelley), a basketball star who is expected to cruise through the class so he can continue to be eligible to score lots and lots of points on his way through to the NBA. These two alone seem able to tolerate Jim who is filled with self-loathing and who time after time when confronted with the opportunity to do the right thing screws it up royally for himself and those around him.

With a deadline looming on Jim’s debt payback and his new girlfriend and his basketball-playing student who may be the only two people left who care about Jim now firmly in the crosshairs, Jim knows it’s going to be all or nothing this time and there will be no walking away if he loses. Not for him. Not for anyone around him.

This is based on a 1974 James Caan film of the same name which in turn is loosely based on a Fyodor Dostoevsky novel – also of the same name. This is a slick but soulless look at gambling, it’s hold on the psyche and how a smart man can be moved by it to do dumb things.

Jim says on two occasions that he’s not a gambler; the first time you think he’s being ironic. The second, it’s said with flat confidence which is meant to convey you see, I have it all under control and perhaps that’s what the movie means you to feel. It is near to the end of the film and supposedly, he’s getting his life back in order. I find this a disservice to the movie, particularly since throughout the movie we watch and recoil as Jim sinks deeper and deeper into the morass, and yet at the end one magical bet is supposed to be all it takes to lift him out of the pit. In real life, that’s what a lot of gambling addicts say and to a man (or woman) they can’t help but sink back into it and lose everything they’ve gained. That’s the nature of the beast.

I refuse to call the actors out on the carpet for this one – they all do a bang-up job. Wahlberg is making a fine career out of playing heroes who are flawed, as in Pain and Gain. Here he has the unenviable job of taking a smart character who does dumb things and on top of it make him virtually unlikable. Jim’s arrogant, blunt, sometimes cruel – the line between truth and cruelty can be blurry at the best of times and Jim crosses that line regularly, often on purpose. The things he does seem to be a “suicide by gangster” thing. I can’t even begin to even figure out what’s going on with him; suffice to say that few of us ever get as messed up as Jim does and those that do, God’s mercy on ya.

Ing and Williams make credible victims, with Williams getting more of a meaty character to work with; Ing mainly plays it cool and looks (if you’ll forgive the expression) inscrutable which considering he’s Asian I’m not sure is a good idea. Ing’s poker face makes his character more menacing but the filmmakers really don’t follow through on that menace. Williams though gets to and quite frankly, his character is a bit of a throwback to 70s cinema and not in a good way always.

Goodman gets to chew the scenery and few do it as well as he does. He’s a street-smart guy who understands and respects Jim’s intellect and can’t for the life of him understand why he does what he does. He’s got that southern fried Foghorn Leghorn thing going but with a touch of ticking time bomb on the side. You get the sense that Frank is nobody to mess around with, despite the fatherly demeanor which he adopts with Jim from time to time. I love watching Goodman work and he’s in top form here.

This is a movie that doesn’t know when to stop. Wahlberg carries a briefcase with him everywhere but never uses it in a piece of business that’s unnecessarily distracting. Sometimes in attempts to be artistic they have Wahlberg staring off into the sunset with an icy demeanor and sunglasses shading his eyes, switching the background in a series of jump cuts while Wahlberg stays still in exactly the same spot in the frame. It’s a little bit like a Photoshop effect on film.

Worse yet is the ending, which not only jumps the shark, it lands back in the water and gets eaten by the shark. The movie began with the sound of a roulette wheel  spinning, the ball bouncing in the middle of the wheel and landing in its slot. Near the end of the movie, Jim is spinning a roulette wheel on which he’s bet everything; win and he pays everyone off and his girlfriend is left alone. Lose and Jim is a dead man. The movie begins with the sound of a roulette wheel, it should have ended with one. The movie should have faded to black right there without us knowing the result and leaving us to speculate. We never should have found out if the gamble was successful, but we do. And then there is a scene afterwards that is nothing if not gratuitous. By that time I was already gnashing my teeth and wishing that I was getting paid for this. Anyone who sees this movie should get paid for their forbearance.

REASONS TO GO: Goodman is a hoot.
REASONS TO STAY: Wahlberg’s character is so self-destructive, whiny and rude that it’s very hard to get any sort of human empathy for him or from him. Suffers from a major case of “going-on-too-long-itis.”
FAMILY VALUES: Lots and lots of swearing, some brief nudity in a strip club and some sexual situations.
TRIVIAL PURSUIT: Wahlberg dropped 61 pounds for this role, an amount he said he would never lose again for any film. He also sat in on a number of English literature courses at Southern California colleges to get down the mannerisms and techniques of actual professors.
CRITICAL MASS: As of 1/16/15: Rotten Tomatoes: 46% positive reviews. Metacritic: 55/100.
COMPARISON SHOPPING: Premium Rush
FINAL RATING: 4/10
NEXT: The Woman in Black 2: Angel of Death

Larry Crowne


Larry Crowne

Julia Roberts smirks at Tom Hanks' new CHiPS-inspired look.

(2011) Comedy (Universal) Tom Hanks, Julia Roberts, Taraji P. Henson, Cedric the Entertainer, Bryan Cranston, Wilmer Valderrama, Gugu Mbatha-Raw, Pam Grier, Rami Malek, George Takei, Rita Wilson, Jon Seda, Rob Riggle, Dale Dye, Grace Gummer. Directed by Tom Hanks

There are occasions in life where it becomes necessary to reinvent ourselves. We are almost forced to take stock, figure out what’s not working and attempt to fixing.

Ex-Navy “culinary specialist” (read: cook) Larry Crowne (Hanks) is sailing along at the big-box chain where he works and has won eight employee-of-the-month awards. He figures he’s being called in to win his ninth; but instead is dismayed to discover that he is being downsized. The reason? He has no college education (having chosen to serve his country instead) and has gone as far as he can go at the company without one. Not wanting to leave him in the same position for years to come, he is instead let go. Nobody ever said that big companies are logical.

He is underwater on his mortgage after buying out his wife after a somewhat messy divorce. After an unsuccessful attempt to refinance with an unctuous loan officer (Wilson), Larry is forced to start selling off his stuff at a perpetual yard sale run by his grouchy neighbor Lamar (Cedric) and his friendlier wife (Henson), who turns Larry on to the idea of going back to school. Larry also buys a scooter to get him places more economically.

At the local community college he takes a speech class with Mercedes “Mercy” Tainot (Roberts), a somewhat burned-out teacher who uses alcohol to numb out and help her forget she’s married to Dean (Cranston), formerly a promising science fiction author turned into a slacker with a penchant for commenting on blogs and surfing for porn on the internet. Mercy has the distinct impression that she is making not a whit of difference in the lives of her students.

He also takes an economics class under the watchful eye of the quirky Dr. Matsutani (Takei) who isn’t above a little self-promotion but has a distinct hatred of cell phones. In the class is the free-spirited Talia (Mbatha-Raw), who brings in Larry into her scooter gang, led by her boyfriend Dell (Valderrama). Talia decides to take Larry on as a bit of a project, remaking his house and his appearance in a more modern image.

Gradually Larry begins to rediscover himself, getting a job at a local diner and finding self-confidence through his speech class. Meanwhile, as Mercy’s marriage continues to fall apart, Larry begins to fall a little bit for the attractive but closed-off teacher, although Mercy assumes that Larry and Talia are together because of her clear affection for him.

That’s essentially it for plot. Hanks co-wrote and directed this star vehicle (this marks his second feature film as a director after the far superior That Thing You Do! back in 1996) tends to a gentle, inoffensive style in both writing and directing. I’ve often characterized Hanks as a modern Jimmy Stewart, an everyman with a heart of gold. He plays that role to the hilt here.

He is matched by Roberts, whose luster is undimmed 20 years after Pretty Woman. She still has one of the most radiant smiles you’ll ever see, although you’ll see far more frowning from her here which is a bit of a shame – but she nonetheless fills her role well. While the chemistry between Hanks and Roberts isn’t as electric as it is in Charlie Wilson’s War, they still work well together onscreen.

In fact this is very much a project moved forward by star wattage. The likability of Hanks and Roberts lies at the core of the film, and Hanks the director wisely utilizes it. He has a pretty strong supporting cast, but it is Mbatha-Raw who charms most. Best known here for her work in “Doctor Who,” she is incandescent and lights up the screen whenever she’s on. “Star Trek” veteran Takei also is strong as the curmudgeonly economics professor, while Cedric recycles his stage persona adequately enough. Valderrama breaks out of his “That 70s Show” type as the tough-seeming teddy bear Dell.

There are a lot of quirky characters here, from the self-absorbed student (Malek) to the slacker husband (Cranston) and most of them aren’t developed all that well. We could have done with a number of them altogether, quite frankly. Also, I felt Larry is a bit too passive here. He reacts to people who essentially re-shape him. He just kind of goes along with it; Lamar suggests he goes to college, he goes to college. The proprietor of a local diner suggests Larry start working for him, Larry goes to work for him. Talia wants Larry to change his wardrobe and add a wallet chain, Larry does. Larry becomes a blank slate which everyone around him draws their version of him on; he could have used a little more self-assertiveness.

The movie takes a situation that all too many Americans are feeling – laid off, middle aged, at a crossroads of life – and really doesn’t do a lot with it. There isn’t a lot of angst here; Larry has a few depressed moments, caught in montage early on, and then rolls up his sleeves and gets about the job of finding himself a new job. He meets with rejection but that doesn’t really figure much into the plot. It’s more of a means of getting the story from point “A” to point “B.” To my way of thinking, there were some lost opportunities here for commentary on the current economic state of things but apparently the filmmakers didn’t want to do that

Be that as it may, the movie still makes you feel good. There is no raunchiness here at all as there is at most of the summer comedies you’ll see this year. That in itself is rather pleasing; it’s nice once in awhile to see a comedy that doesn’t rely on pushing the boundaries for humor. The good thing about Larry Crowne is that no matter what kind of rotten mood you’re in (and I was in a foul one when I saw it) you’ll leave the theater feeling good – and if you’re in a good mood to begin with, you’ll leave the theater feeling better. I’m sure some Hollywood blurb-writer will coin it “the feel-good movie of the summer,” but for once the blurb will be accurate.

REASONS TO GO: A warmhearted comedy that relies heavily on the charm of its stars. Will pick you up even on a bad day.

REASONS TO STAY: A few too many quirky characters. The character of Larry might be a little too passive for some.

FAMILY VALUES: There are a few bad words and some sexual content but otherwise pretty mild.

TRIVIAL PURSUIT: The movie was originally titled Talk of the Town.

HOME OR THEATER: This works just as well on the home screen as it does in the multiplex.

FINAL RATING: 7/10

TOMORROW: Transformers: Dark of the Moon