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John Sayles’s historical drama about the Black Sox scandal of 1919, when members of the Chicago White Sox (including legend Shoeless Joe Jackson) threw the World Series to gamblers, is particularly instructive today, when professional sports have embraced gambling revenues wholeheartedly, ignoring the lessons of the past. The story of Eight Men Out is less about corruption from the players than it is a labor-management conflict: The players fix the series not out of greed but out of desperation when their owner refuses to reward them for an incredible season. Gambling’s corrosive influence on sports has mostly been forgotten in the recent years, but Eight Men Out reminds us of its perils.
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Made in the heat of the now-mercifully-cooled World Series of Poker craze, the late Curtis Hanson put an immediate halt to his terrific L.A. Confidential/Wonder Boys/8 Mile/In Her Shoes run with this mostly hackneyed story of a superstar poker player (Eric Bana) with a complicated relationship with his even bigger superstar poker-player father (Robert Duvall). We have seen that story a million times in a million better sports movies — this even has a Big Game at the end — but both Bana and Duvall find some truth in their characters regardless. This movie was a disaster at the box office, and Hanson’s hot streak was over.
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James Toback, who has since been hit with allegations of all kinds of problematic behavior, based his screenplay on his own gambling addiction, but what’s great about The Gambler — the 1974 James Caan version, obviously, not the 2014 Mark Wahlberg one — is that the title character is less obsessed with gambling than he is with danger, even self-destruction. His Axel makes bets simply to dig himself deeper and deeper into trouble, even arguing that, for him, the fun of betting is losing. That’s a perilous situation for a gambler, to say the least, but Caan sells us on Axel’s desperate chase for the next rush. Axel isn’t betting on basketball: He’s playing Russian roulette.
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This likable indie’s best quality is its premise: Meet Bernie (William H. Macy), a professional loser whose job it is to ruin any high-roller’s hot streak simply by playing at the same craps table. The Cooler starts off as a sad, funny character study of a recovering gambling addict who’s still in massive debt to Alec Baldwin’s tough-guy casino boss — he’s working off what he owes by being the guy’s go-to “cooler” — but the love of a good woman (Maria Bello’s weary cocktail waitress) might just change his luck. Realism takes a backseat to romance and crowd-pleasing sentiment in Wayne Kramer’s directorial debut, and the followthrough isn’t as entertaining as the setup. But Macy was born to play this sort of hangdog failure who hasn’t stopped betting on himself.
Movies about gambling have an inherent drama because, by definition, they’re about risk. It’s not fun to watch someone be prudent and cautious, but to see someone constantly putting his well-being on the line in desperate, irrational hope for that One Big Score … well, gamblers in gambling movies are in many ways just like that veteran cop who takes One Last Case before retirement. They usually don’t end up with a calm home life upstate, counting their winnings.
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Based on the true (if embellished by author Ben Mezrich) story of the MIT Blackjack Team that beat the house for nearly a decade, 21 turns an interesting math and business story into a sort of dumb heist movie featuring a lot of young, handsome actors (Jim Sturgess, Kate Bosworth, Aaron Yoo, Jacob Pitts, and even Josh Gad) trying to pull one over on Kevin Spacey. Spacey is particularly checked-out here, and the movie was criticized for “whitewashing” in its casting, turning the mostly Asian-American real-life players into generic white people. But for a brief moment, before Spacey is being kidnapped and beaten in a hotel room, it’s an interesting look at the science behind smart gambling. But only for a moment.
There was a time that Mel Gibson was considered such a light and lively leading man that a big-budget studio movie could coast on his charm as a card shark and con man. Based on the popular ’50s television series (and co-starring that show’s lead, James Garner), Maverick is a bit of a bloated contraption, too long and too overstuffed with would-be-epic-and-probably-unnecessary Western scope by Richard Donner. But the film still has its pleasures, not least of which is Gibson’s pal Jodie Foster, who has a blast playing the sort of damsel-in-distress female sidekick role she’d otherwise spent most of her career avoiding. It’s a gas to watch her so giddy.
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