"KEEP BUSTIN'."

Posts Tagged ‘poker’

Maverick

Wednesday, May 22nd, 2024

May 20, 1994

You know what – I had never seen MAVERICK until now. But look at these credits, man. Directed by Richard Donner (between LETHAL WEAPON 3 and ASSASSINS), written by William Goldman (BUTCH CASSIDY AND THE SUNDANCE KID, HEAT [1986]), shot by Vilmos Zsigmond (MCCABE & MRS. MILLER, CLOSE ENCOUNTERS OF THE THIRD KIND, HEAVEN’S GATE, THE WITCHES OF EASTWICK), edited by Stuard Baird (DIE HARD 2, THE LAST BOYSCOUT) and Michael Kelly (CRIMEWAVE, BLACK EAGLE), production design by Thomas E. Sanders (BRAM STOKER’S DRACULA). Also I immediately wondered “why does this sound exactly like TOY STORY?” and realized that the score was by Randy Newman.

I would not say MAVERICK comes anywhere close to living up to the sum of its parts. But it’s fine. Pretty good for a while. The opening kinda reminded me of another ‘90s western-ish blockbuster sort of based on old TV shows, MASK OF ZORRO, and from me that’s a big compliment. Our hero Bret Maverick is introduced in the midst of a squabble, some guy named Angel (Alfred Molina, also in CABIN BOY, WHITE FANG 2: MYTH OF THE WHITE WOLF and REQUIEM APACHE that year) and his thugs leaving him on his horse in the middle of the desert, hands tied behind his back, noose around his neck, snake dumped in front of the horse to inspire movement.

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Molly’s Game

Tuesday, April 17th, 2018

MOLLY’S GAME is the directivational debut of playwright/The West Wing creator/screenwriter Aaron Sorkin (MONEYBALL, STEVE JOBS), and man is it ever Sorkiny. It revolves around the legal defense of a woman who ran an illegal poker ring, so there is law, legal strategy, business procedure and poker all out there needing to be explained and waxed poetic about by fast-talking geniuses constantly on the verge of dropping an anecdote about the 1942 Olympics or the Warren G. Harding administration or some shit that at first sounds like they got sidetracked with trivia but turns out to be a deft analogy to drive home the point they’re trying to make. And the protagonist Molly Bloom (Jessica Chastain, MAMA) narrates the shit out of it and skips around in time, talks about her childhood and her Olympic skiing accident and what not. It looks good and the performances are excellent but yeah, dude, a writer’s writerly writer definitely wrote this writing here.

Sorkin seems like a guy who obsesses over some story he read about in a magazine a while back and he won’t fucking shut up about how fascinating it is and you’re like “Okay Aaron, young Hollywood intern stumbles into running high stakes poker game, sounds great Aaron anyway I gotta get going,” but then when he makes the movie you realize he was right, it really was a compelling story when presented exactly as he knew how to present it. (read the rest of this shit…)