reviewed by Tom-Tom
Aaron Sorkin, now there’s a guy who knows how to start a story. Whether it’s the breathless first 20 minutes of The Social Network or the heart-stopping and brilliant opening to the HBO show The Newsroom, Sorkin is a wordsmith, able to make rapid fire dialogue with a fierce intensity but calculated intelligence spew out of the mouths of the world’s best actors. Molly’s Game is no different although this time, Sorkin himself is director. If you’re expecting what usually happens when a dialogue heavy writer becomes director, (ahem, recent QT films) fear not. He has learned much from the red carpet parade of directors whom have took on his screenplays: Danny Boyle, David Fincher, Rob Reiner, etc. His editing is just as sharp as his dialogue feeding us well balanced pieces of the backstory and current story effortlessly but clearly eschewing the turgid mess a lesser writer or director could make of it all. Molly Bloom’s story is actually pretty simple the way Steve Jobs’ story was simple in the eponymous film directed by Danny Boyle. She was headed towards a law degree after failing to qualify for the Winter Olympics and learned how to set up and run poker games for which she is currently (in the film’s “present” timeline) standing trial. While the Jobs film relied more on dialogue and linear recounting of events leaving the viewer with a bit of emptiness at the end despite the high-paced build up and slight emotional payoff at the end, (“Did this really need to be filmed?” I remember recounting. Its passionate speeches would have been better served at the theater than on the big screen”), Molly’s Game doesn’t suffer from overfocus on dialogue as there are loads of things to keep our minds and eyes busy while Jessica Chastain laconically does voiceover for her past.