A little drunk on its own arcane exotica as a gambling movie, Rounders is a film that takes us inside a world of high-stakes card players but falls... read more

A little drunk on its own arcane exotica as a gambling movie, Rounders is a film that takes us inside a world of high-stakes card players but falls short on such essentials as character development, relationships, that sort of thing. Still, it is a real curiosity, written by a couple of guys (David Levien and Brian Koppelman) who appear to know something about the dark underbelly of card hustling for fun and profit. Matt Damon stars as a reluctant law student who can't put aside his subterranean career of playing poker and blackjack for big money. After he loses his post-grad nest egg to a weird Russian kingpin (John Malkovich)--and also loses his disgusted girlfriend (Gretchen Mol) in the process--Damon's character turns to an unreliable old buddy (Edward Norton) for a dangerous game of sharking wherever there happens to be a game underway: frat boys, cops, bad dudes, you name it. Norton appears to be living out every young actor's fantasy of re-creating Robert De Niro's prototypical head case in Martin Scorsese's Mean Streets, and while his performance is burdened by obvious quotation marks, his estimable talent still shines through. Damon's charm and intelligence bring some oomph to the curiously flat proceedings, and while his hushed, soul-bearing scenes with Martin Landau (as a law professor who takes a shine to the kid) seem gratuitous, they're still nice to watch. Behind all this is director John Dahl (Red Rock West), who is not exactly at the top of his game here but who brings his distinctive toughness to the crime-noir tone. --Tom Keogh (hide)

Winner of seven Academy Awards including Best Picture, Director, and Screenplay, this critical and box-office hit from 1973 provided a perfect reunion for director George Roy Hill and... read more

Winner of seven Academy Awards including Best Picture, Director, and Screenplay, this critical and box-office hit from 1973 provided a perfect reunion for director George Roy Hill and stars Paul Newman and Robert Redford, who previously delighted audiences with Butch Cassidy and the Sundance Kid. Set in 1936, the movie's about a pair of Chicago con artists (Newman and Redford) who find themselves in a high-stakes game against the master of all cheating mobsters (Robert Shaw) when they set out to avenge the murder of a mutual friend and partner. Using a bogus bookie joint as a front for their con of all cons, the two feel the heat from the Chicago Mob on one side and encroaching police on the other. But in a plot that contains more twists than a treacherous mountain road, the ultimate scam is pulled off with consummate style and panache. It's an added bonus that Newman and Redford were box-office kings at the top of their game, and while Shaw broods intensely as the Runyonesque villain, The Sting is further blessed by a host of great supporting players including Dana Elcar, Eileen Brennan, Ray Walston, Charles Durning, and Harold Gould. Thanks to the flavorful music score by Marvin Hamlisch, this was also the movie that sparked a nationwide revival of Scott Joplin's ragtime jazz, which is featured prominently on the soundtrack. One of the most entertaining movies of the early 1970s, The Sting is a welcome throwback to Hollywood's golden age of the '30s that hasn't lost any of its popular charm. --Jeff Shannon (hide)

Leave it to the Chairman of the Board to rope in a great director for the first Rat Pack movie. Lewis Milestone (All Quiet on the Western Front)... read more

Leave it to the Chairman of the Board to rope in a great director for the first Rat Pack movie. Lewis Milestone (All Quiet on the Western Front) indeed directed this 1960 caper movie starring Frank Sinatra, Dean Martin, Sammy Davis Jr., Peter Lawford, and Joey Bishop; but the results now seem like more of a historical artifact than a good time. The tone of the film is curiously serious--one somehow expected that the Rat Pack would have made a more buoyant first picture. But it is something to see these guys together, if largely for nostalgia reasons. --Tom Keogh (hide)

Rain Man is the kind of touching drama that Oscars are made for--and, sure enough, the film took Academy honors for best picture, director, screenplay, and actor (Dustin... read more

Rain Man is the kind of touching drama that Oscars are made for--and, sure enough, the film took Academy honors for best picture, director, screenplay, and actor (Dustin Hoffman) in 1988. Hoffman plays Raymond, an autistic savant whose late father has left him $3 million in a trust. This gets the attention of his materialistic younger brother, a hot-shot LA car dealer named Charlie (Tom Cruise) who wasn't even aware of Raymond's existence until he read his estranged father's will. Charlie picks up Raymond and takes him on a cross-country journey that becomes a voyage of discovery for Charlie, and, perhaps, for Raymond, too. Rain Man will either captivate you or irritate you (Raymond's sputtering of repetitious phrases is enough to drive anyone crazy), but it is obviously a labor of love for those involved. Hoffman had been attached to the film for many years, as various directors and writers came and went, but his persistence eventually paid off--kind of like Raymond in Las Vegas. Look for director Barry Levinson in a cameo as a psychiatrist near the end of the film. --Jim Emerson (hide)

Leave it to the Chairman of the Board to rope in a great director for the first Rat Pack movie. Lewis Milestone (All Quiet on the Western Front)... read more

Leave it to the Chairman of the Board to rope in a great director for the first Rat Pack movie. Lewis Milestone (All Quiet on the Western Front) indeed directed this 1960 caper movie starring Frank Sinatra, Dean Martin, Sammy Davis Jr., Peter Lawford, and Joey Bishop; but the results now seem like more of a historical artifact than a good time. The tone of the film is curiously serious--one somehow expected that the Rat Pack would have made a more buoyant first picture. But it is something to see these guys together, if largely for nostalgia reasons. --Tom Keogh (hide)

Paul Newman shines as cocky poolroom hustler "Fast" Eddie Felson in Robert Rossen's atmospheric adaptation of the Walter Tevis novel. Newman's Felson is a swaggering pool shark punk... read more

Paul Newman shines as cocky poolroom hustler "Fast" Eddie Felson in Robert Rossen's atmospheric adaptation of the Walter Tevis novel. Newman's Felson is a swaggering pool shark punk who takes on the king of the poolroom, Minnesota Fats (a cool, assured Jackie Gleason in his most understated performance). After losing big and crashing into a void of self-pity, Eddie meets down-and-out Sarah (Piper Laurie in a delicate performance), an alcoholic blue blood who's dropped into Eddie's world of dingy bars and seedy poolrooms. Eddie regains his confidence and attracts the attention of a shifty, calculating promoter, Bert Gordon (George C. Scott at his most heartless), who offers to bring Eddie into the big money--but at what cost? Rossen brings his film to life with the easy pace of a pool game, giving his actors room to explore their characters and develop into a razor-sharp ensemble. Eugen Schüfftan earned an Academy Award for his shadowing black-and-white cinematography, as did art directors Harry Horner and Gene Callahan for their deceivingly simple set designs. Even in the daylight this film seems to be smothered by night, lit by the dim glow of a bar lamp or the overhead glare of a pool-table light, an appropriate environment for this tale of one man's struggle with his soul and his self-esteem. Newman returned as an older, wiser, cagier Felson 25 years later in Martin Scorsese's Color of Money. --Sean Axmaker (hide)

Martin Scorsese handles directing duties in this 1986 sequel to the classic 1961 film The Hustler, which marks the return of Paul Newman to the role of pool... read more

Martin Scorsese handles directing duties in this 1986 sequel to the classic 1961 film The Hustler, which marks the return of Paul Newman to the role of pool shark Fast Eddie Felson. Anxious to break into the big time again, Eddie finds a talented protégé (Tom Cruise) to groom; but with the addition of the latter's manipulative girlfriend (Mary Elizabeth Mastrantonio) and the wild streak in Cruise's character, the trio make for a fascinating portrait in group psychology. The cast is brilliant, the script by Richard Price (Clockers) is a paragon of tightly controlled character study and drama (at least in the film's first half), and Scorsese and cinematographer Michael Ballhaus make an ornate show of the collision and flight of pool balls through space--something of a metaphor for the dynamics among the three principals. The film is generally regarded as weaker in its second half, and rightly so, as everything that was interesting in the first place disappears. Still, Newman won a deserved Oscar for his performance. --Tom Keogh (hide)

Leave it to the Chairman of the Board to rope in a great director for the first Rat Pack movie. Lewis Milestone (All Quiet on the Western Front)... read more

Leave it to the Chairman of the Board to rope in a great director for the first Rat Pack movie. Lewis Milestone (All Quiet on the Western Front) indeed directed this 1960 caper movie starring Frank Sinatra, Dean Martin, Sammy Davis Jr., Peter Lawford, and Joey Bishop; but the results now seem like more of a historical artifact than a good time. The tone of the film is curiously serious--one somehow expected that the Rat Pack would have made a more buoyant first picture. But it is something to see these guys together, if largely for nostalgia reasons. --Tom Keogh (hide)

One of the most critically acclaimed films of 1995, this wrenchingly sad but extraordinarily moving drama provides an authentic, superbly acted portrait of two people whose lives intersect... read more

One of the most critically acclaimed films of 1995, this wrenchingly sad but extraordinarily moving drama provides an authentic, superbly acted portrait of two people whose lives intersect just as they've reached their lowest depths of despair. Ben (Nicolas Cage, in an Oscar-winning performance) is a former movie executive who's lost his wife and family in a sea of alcoholic self-destruction. He's come to Las Vegas literally to drink himself to death, and that's when he meets Sera (Elisabeth Shue), a prostitute who falls in love with him--and he with her--despite their mutual dead-end existence. They accept each other as they are, with no attempts by one to change the other, and this unconditional love turns Leaving Las Vegas into a somber yet quietly beautiful love story. Earning Oscar nominations for Best Director (Mike Figgis), Best Adapted Screenplay (Figgis, from John O'Brien's novel) and Best Actress (Shue), the film may strike some as relentlessly bleak and glacially paced, but attentive viewers will readily discover the richness of these tragic characters and the exceptional performances that bring them to life. (In a sad echo of his own fiction, novelist John O'Brien committed suicide while this film was in production.) The DVD features uncut, unrated footage that was not included in the film's theatrical release. --Jeff Shannon (hide)

Steve McQueen brings his cool fire to the role of the Cincinnati Kid, a small-timer eager to take his chances in high-stakes poker. He gets his chance. Regal,... read more

Steve McQueen brings his cool fire to the role of the Cincinnati Kid, a small-timer eager to take his chances in high-stakes poker. He gets his chance. Regal, ruthless Lancey Howard (Edward G. Robinson), the elite gambler called the Man, accepts the Kid?s challenge. Norman Jewison (In the Heat of the Night, Moonstruck) directs this taut exploration of back-room gaming, building suspense with each turn of a card. And Ann-Margret, Karl Malden, Rip Torn, National Board of Review Best Supporting Actress Award winner Joan Blondell and many more comprise a full house of talent. Grab a chair and ante up.

DVD Features:Audio Commentary:Commentary by Director Norman Jewison Scene specific commentary with David Foley and Phil Gordon, the hosts of Bravo's Celebrity Poker ShowdownFeaturette:Vintage Featurette: The Cincinnati Kid Plays According to Hoyle

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Inspired by the 1960s TV series that starred James Garner in the title role, this lightweight Western from 1994 proved to be a surprising box-office hit. Well, maybe... read more

Inspired by the 1960s TV series that starred James Garner in the title role, this lightweight Western from 1994 proved to be a surprising box-office hit. Well, maybe not such a big surprise, since it's from the star and director of the Lethal Weapon movies, and operates with a similar combination of mainstream plotting and easygoing humor. Mel Gibson stars as card-playing gunslinger Brett Maverick, who meets up with wily gambler Annabelle Bransford (Jodie Foster) and a marshal named Zane Cooper (James Garner, trading his old role to Gibson) on his way to the World Series of poker in St. Louis. Maverick's trying to raise the $5,000 needed to join the high-stakes contest, but that's easier said than done due to a lot of unscrupulous competition and a twisting plot of tricks and deceptions. It's all played for laughs and action, so the movie never wears out its welcome, despite a running time that could've used a good trimming. It's also fun to see the rapport between Gibson and Garner, as if the present and former Mavericks were a kind of surrogate son and father, bonded by their mutual skill in charming and conning their way through tight spots. Director Richard Donner also pays tribute to old Westerns by casting veterans of the genre in cameo roles (including Bert Remsen, Dub Taylor, and Denver Pyle), and Gibson's Lethal Weapon costar Danny Glover pops in for a surprise appearance. None of this really adds up to much since the movie makes no pretense about taking itself seriously, but that's precisely why audiences found it so entertaining. --Jeff Shannon (hide)

One of the biggest teases in film history, this film's sensational plot finds a young wife (Demi Moore) solicited for sex by a wealthy bachelor (Robert Redford), for... read more

One of the biggest teases in film history, this film's sensational plot finds a young wife (Demi Moore) solicited for sex by a wealthy bachelor (Robert Redford), for which the latter offers to pay a cool million bucks to her and her underachieving husband (Woody Harrelson). The two accept Redford's deal, and their marriage is ruined. The twist in the film, though, is that the sin doesn't lie with the rich guy, but rather with this unfocused, immature, equivocating couple who would do such a thing, naively believing it would get their lives on track. Director Adrian Lyne, who caused an even greater stir by filming Lolita (the one starring Jeremy Irons), thus pulls a kind of thinking person's bait and switch, promising something tawdry and then turning the story around so its focus is on a rite of passage for the estranged spouses. Still, Lyne has some peculiarly garish ideas at times: the final disposition of that million dollars is like a joke out of Monty Python. --Tom Keogh (hide)

Writer-director Andrew Bergman is capable of funny, funny stuff, but this movie runs out of jokes long before it runs out of comic ideas. The result is a... read more

Writer-director Andrew Bergman is capable of funny, funny stuff, but this movie runs out of jokes long before it runs out of comic ideas. The result is a series of comedy concepts that never get past the one-liner stage and are distinctly unsatisfying. Still, there is plenty to be amused by in this story of a reluctant bridegroom (Nicolas Cage) who finally agrees to marriage, only to lose his fiancée (Sarah Jessica Parker) in a crooked poker game to a professional gambler (James Caan). The rest of the movie deals with his frantic attempt to get his fiancée back, while coping with a Vegas in the throes of an Elvis-impersonator convention. That's the funniest thing about the whole movie (most notably the team of parachuting Elvises at the end), but even that is drawn out in ways that are more clever than laughter inducing. --Marshall Fine (hide)

Bugsy represents an almost miraculous combination of director, writer, and star on a project that represents a career highlight for everyone involved. It's one of the best American... read more

Bugsy represents an almost miraculous combination of director, writer, and star on a project that represents a career highlight for everyone involved. It's one of the best American gangster movies ever made--as good in its own way as any of the Godfather films--and it's impossible to imagine anyone better than Beatty in the movie's flashy title role. As notorious mobster and Las Vegas visionary "Bugsy" Siegel, Beatty is perfectly cast as a man whose dreams are greater than his ability to realize them--or at least, greater than his ability to stay alive while making those dreams come true. With a glamorous Hollywood mistress (Annette Bening) who shares Bugsy's dream while pursuing her own upwardly mobile agenda, Bugsy seems oblivious to threats when he begins to spend too much of the mob's money on the creation of the Flamingo casino. Meyer Lansky (Ben Kingsley) and Mickey Cohen (Harvey Keitel) will support Bugsy's wild ambition to a point, after which all bets are off, and Bugsy's life hangs in the balance. From the obvious chemistry of Beatty and Bening (who met and later married off-screen) to the sumptuous reproduction of 1940s Hollywood, every detail in this movie feels impeccably right. Beatty is simply mesmerizing as the man who inve