JayDee's Movie Musings

Oh right, for some reason I thought I read that your screeny was inspired by JD. Misremembering stuff again.

Thought Drive was fantastic. You can read my full review below.

http://www.movieforums.com/community...ad.php?t=26748

Plot - Stephen Myers (Gosling) is an idealist who works on the Presidential election campaign for Governor Mike Morris (Clooney). He believes Morris is a great man who will really be able to make a difference in people's lives, but as time goes on his eyes are opened to the reality of Morris and the world of politics.

This is Ryan Gosling's film. I know the considerable name of George Clooney produced, wrote, starred in and directed this movie but for me it was all about Gosling, and for me confirms him as one of the hottest young talents in Hollywood. And the fact that he is able to stand out and carry the film amongst such a skilled cast just makes it all the more impressive. He just has the charisma of a real star, and expertly portrays Myers' transformation from starry-eyed innocent to cynical manipulator.

While he may be the star draw however that's not to say the rest of the cast don't live up to their considerable reputations. Phillip Seymour Hoffman and Paul Giamitti show once more why they are thought to be two of the best actors working today. In particular they both seem to take great relish in their opportunities to deliver some of the film's fine monologues. Clooney here is more of a persona than a character. We don't really learn all that much about who he really is, mainly just seeing the heroic image that is presented to the public. Only towards the climax do we really see the mask slip. And young Evan Rachel Wood is rather adorable to begin with and eventually quite touching.

Clooney's direction is solid and very unflashy. It actually feels quite old fashioned, reminiscent of some of the films I visited during my 70s thriller season. For the most part it feels like he is just trying to keep out of the way, seemingly concentrating solely on showcasing the acting of his fine cast. It's actually quite admirable to see a director not try and grab some glory with unnecessary flashes. He appears to trust the audience can appreciate quite a grown-up and intelligent effort.

The film's stage origins are at times quite obvious, especially as most of the film's 'big' moments arrive as a result of some rousing monologues. In some ways this actually feels like it could easily be an Aaron Sorkin film, and there are certainly echoes of his style in some of the dialogue, particularly in the exchanges between Gosling and Wood, even if it never really approaches Sorkin's level of wit. Indeed if you're in the mood for a political film I would recommend the Sorkin-penned Charlie Wilson's War which gives an insight into the political world but which I found more entertaining and engaging.

The progression of the film mirrors Myers' learning curve as he has his eyes well and truly opened. The film opens fairly bright and breezily, reflecting Myers idealistic views of the political world and his hero worship of Clooney's. As the film goes along however we are plunged into the darker and seedier side of this world; a world of backstabbing, manipulation, double dealing and clandestine meetings. Gosling switches from this optimistic romantic to a much more cynical, bitter soul with quite a chilling ending as he just stares into the camera with cold, dead eyes. Though I have to say that I felt his transition happens just a little too easily. When his eyes are finally opened to the harsh reality of politics the switch to bitter and cynical just seems too quick. You just feel there should be more evidence of an internal struggle for the character. And then there's the fact that you have to wonder just how gullible Myers is that it takes him this long to realise the truth about politics.

Another flaw I felt was that the storyline concerning Evan Rachel Wood seems to get glossed over very quickly and neatly. Surely in this day and age, in addition to the official investigation a whole host of journalists would be looking into it and there would be some kind of fallout, some repercussions beyond the staff reshuffle that Myers instigates. Especially when you take into account who her father is. That along with Myers attitude change and power shift means that I was left feeling the more interesting movie was just about to start when the credits started rolling.

While the acting may be superlative the story itself is hardly a revelation. It all just feels a touch predictable and familiar, as if we've seen it all before. After all I think everyone now takes it as gospel that all the underhanded tricks and tactics portrayed here happen in the real world of politics on a regular basis. As a result the film just doesn't come off as important or revealing as it seems to believe it is.

Conclusion – A mature, admirable film which concerns media and politics with some Shakespearian overtones that more specifically details the journey of one men. Unfortunately it just never really catches fire enough to merit the excellent performances that it features.

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I can usually appreciate a film for what it is, but I hated this film.

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"George, this is a little too much for me. Escaped convicts, fugitive sex... I've got a cockfight to focus on."

But how do you really feel? What exactly was it that turned you off it? Or was it just one of those films were for whatever reason just gets under your skin and p***es you off!

As soon it started to get good, it ended.

Plot – Colin Clark (Redmayne) wants to work in movies. Able to get a job working for Laurence Olivier (Branagh) he finds his first experience to be working as a director's assistant on The Prince and the Showgirl with the legendary Marilyn Monroe (Williams). When she takes a shine to him they embark on a romance. Based on Clark's own memoirs the validity of his claims have been questioned.

There is one reason why you should watch this film. And that reason is Michelle Williams. Williams gives a stunning, really quite heartbreaking turn as the screen goddess that was Marilyn. Her performance, along with the knowledge of the problems Monroe was suffering and her eventual demise means that I found the film to be really quite poignant and moving. It's hard to think of many people in history who would seem like a tougher role to take on. Few people who are as recognised and beloved across the whole world. It was a brave decision by Williams to take it on as you can imagine it could easily have gone very wrong. And if it had she would most likely have been destroyed by the critics. But she is simply breathtaking. So much so you almost forget at times this isn't the actual Marilyn you're watching.

Eschewing a mere impersonation she successfully captures numerous facets of Marilyn. She captures the screen Marilyn, with the immense magnetism and charm that has arguably never been matched. She gives us the public Marilyn with all of her humour, giggling and poses as she plays up to her fans and admirers. She gives us the Marilyn that her co-workers on his movies knew; the challenging and infuriating presence who proved to be a real task. And finally she gives us the Marilyn that was hidden from the world, that no-one knew about others than those closest to her; the emotionally damaged, sad, drug addicted little girl whose mum never loved her and who always feared being abandoned. If only this troubled soul had got the help she required, or had enough people around her who really cared as opposed to those who seem to use her and tell her what to do for their own personal gain. People all too happy to just try and let her fix her problems with pills and alcohol so long as their golden goose keeps producing.

Sadly outside of her staggering performance much of the rest of the film comes across as just a bit bland. Not bad per se, just nothing to really get excited about. It's a really quite typically British film. The acting throughout is impressive, and it's period trappings do look very attractive but too much of it is just rather predictable. The score for instance which while nice is exactly what you'd expect if you see what I mean. There is very little to surprise you. And tonally the film feels just a little off at times as we are presented with this mix of twee, light-hearted British period drama alongside the darker elements that creep in due to Monroe's collapsing psyche.

As I said the acting on the whole is impressive though I have to admit to not being overly amazed by Kenneth Brannagh's performance as Laurence Olivier. I thought it was good and all but didn't see what many others obviously did considering his numerous nominations and wins for the performance. Though that may just be due to Williams stealing most of my attention anytime they are on screen together, a feat which befell many a co-star of the actual Marilyn Monroe. Perhaps on a repeat viewing I will be able to appreciate his contribution more. Oh and I do have one minor complaint regarding the cast however, though it's not down to poor acting. Dame Judi Dench is her usual warm and delightful self as Sybil Thorndike, and as a result it's just a shame how little she actually features.

Eddie Redmayne does quite an admirable job with Colin Clark, considering he is by far the least interesting of the characters on show. He brings a bit of a charm to the role of this young, inexperienced man whose schoolboy crush on the world's biggest star turns into something only dreams are made of. Indeed when concentrating on the relationship between them the film can at times take on a somewhat dream like state. Their time together seems to be shot with a softer tone than the rest of the film, and with Williams capturing some of Monroe's apparent ethereal glow it feels like a fantasy. And depending on who you listen to it may well all be a fantasy. Sweeping the question of truth aside it is a rather sweet coming of age tale of a young boy who falls in love with the ultimate sex symbol. Of course the young Colin Clark is living his (any just about every guy's) fantasy but Marilyn gets a lot out of it as well, providing her with some solace and peace from her marriage problems and her clashes with Olivier, and allowing her to feel like a little girl and to feel loved.

Though I have to say I found myself longing to see more of the events on The Prince and the Showgirl set as opposed to the romance of a sort that blooms between Monroe and Eddie Redmayne's Clark. While it is quite sweet, and on occasion touching it just doesn't have the spark that the antics on set have. The scenes between Williams' Monroe and Brannagh's increasingly frustrated Olivier are good fun, and deliver pretty much 100% of the laughs to be found here. Mostly as a result of some great lines from Branagh - "Marilyn, my darling, you are an angel and I kiss the hem of your garment but why can't you get here on time for the love of F**K?!!!" and "I think directing a movie is the best job ever created, but Marilyn has cured me of ever wanting to do it again."

It's just a real shame that Williams' performance is almost wasted in a way by not featuring in a better film. I don't think you'll find many actresses able to do justice to Marilyn, as a result it's a shame she wasn't given a better story to perform in. Given all the fascinating films that could be made about her it's a shame she is only given the chance to portray Miss Monroe in this one week of her life. While it's highly unlikely I hope someone else out there has the ambition of making a Marilyn flick but just felt no-one could bring her to life on screen, and that perhaps they see this film and cast Michelle Williams again as Marilyn in another, completely separate film.

Conclusion – A nice film which would ultimately have proved completely forgettable if not for Michelle Williams providing one of the most incredible performances I've seen an actress give in a long time. And for her alone I would recommend this film to people as I believe she deserves to be seen.

Plot - 1911. The visiting Regent of Carpathia (Olivier) takes in a London show one evening. When he goes backstage to meet the cast he takes a shine to an American actress, Elsie Marina (Monroe). As a result Elsie receives an invitation to join the Regent for dinner. Despite successfully warding off the Regent's advances Elsie ends up falling asleep after drinking too much. In the morning the Regent tries to get rid of her but turns out that Elsie has fallen in love with him. As a result she finds a way to continually stick around, long enough even to upset a plan to overthrow the Carpathian throne, and to patch up a feud between the Regent and his son.

A little bonus mini review for all of you (don't say I'm not good to you! ). After watching My Week With Marilyn I thought this would make a good companion piece for it.

This is a quaint and silly little film. It's a film I could easily have abandoned if not for the intoxicating presence of Marilyn Monroe. And I'm glad I stuck with it in the end as it does get better and ended up as a fairly fun little flick. Certainly the comic elements are what works best here, whether it be Elsie's continuing confusion as to how to address the members of royalty or the Regent's inability to get rid of her, despite giving her a goodbye broach countless times. What works less well is the romantic relationship between the two and the whole political intrigue storyline.

Just as My Week with Marilyn is all about Williams, this is all about Monroe. She just seems to glow whenever she appears on screen, and anytime she does it feels like everyone else just ceases to exist. It just seems impossible to take your eyes off her. It's a fairly standard Monroe character except that she is perhaps a bit smarter than the normal ditzy blonde she portrays. Will she may be rather naïve she also has an intelligent streak; she is able to speak German and is able to control and manipulate the men of the film. Monroe and Olivier work well together and there really is little evidence of their clashes that occurred on set. Oh and I must give a mention to Sybil Thorndike who provides the biggest challenge to Monroe in terms of stealing the movie. Her line delivery and manner is great and she grabs a number of the film's laughs.

The film certainly feels too long. I don't think any romantic comedy, certainly not one this flimsy, should come close to a two hour running time. This really could have done with having a good 20 minutes or so cropped, particularly from the coronation scene were Olivier's camera spends too much time admiring the grandeur of the event and the location. Though the film does look gorgeous at times, with the lush colours and lavish sets captured by the legendary cinematographer Jack Cardiff. It's just a shame then that the script can't match it, coming across as rather familiar and quite tired.

Conclusion - Like many a Marilyn Monroe film this is slight, inconsequential stuff that is lifted and made worth it because of Marilyn herself. It's another decent film with a great showing for Monroe, as opposed to a great film.

Just watched them both myself thanks for your great reviews

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Health is the greatest gift, contentment the greatest wealth, faithfulness the best relationship.
Buddha

You're welcome. And thank you very much nebbit. What did you make of both of them?

I am a big Marilyn Monroe fan I just bought My week with Marilyn so after watching it I rewatched The prince and the Showgirl.
I thought Michelle Williams was great I am becoming a big fan of hers also

Plot - A man is murdered in a small Mississippi town. A man of great importance to the town as he was to bring a new factory to the area. As a result it's imperitive that the culprit is caught, meaning that when the police come across a black man trying to get out of town their eyes practically light up. Except this particular black man, Virgil Tibbs (Poitier), is a police detective from Philadelphia, a homicide expert. Despite the reluctance of Tibbs and the local police chief, Gillespie (Steiger), both man are cajoled into joining forces to solve the murder. Except in this racist town Tibbs isn't going to have it easy.

This is a tense, intelligent thriller; thought-provoking and electrifying. A film which encompasses some character portraits, a look at the issue of racism and a murder mystery complete with several tense moments.

What really drives this picture is the relationship between Tibbs and Gillespie. Clashing right from the off, with neither man set to back down, their scenes together crackle with chemistry. Their eventual connection of a sort does not come about as a result of simple, kumbaya moment of realisation that we really are no different and we should all be nice to each other. Instead what the characters connect over is a shared loneliness, neither man seems to really fit into society all that easily. They are both very flawed men who are so driven by the job that it sabotages any chance of a social life. Gillespie is obstinate, Tibbs arrogant; both self-righteous. This leads to a great, and ultimately very sad scene, were the two men are sitting together in Gillespie's home. Just as we think they are about to have a breakthrough in their relationship as Tibbs reaches out, Gillespie shuts down, resorting to racist rhetoric - “Don't get smart black boy...no pity, thank you.” and leaves the room. It's as if he has just realised he has reached out and made himself vulnerable to this man whom he would usually treat like trash, and feels the needs to put him in his place again.

And to fulfil two such interesting characters we thankfully have two actors who do it perfectly. Poitier just brings such a immensely cool presence to Tibbs, convincing us of the characters intelligence and dedication, while also owning his arrogance. We get the feeling that he is just simmering away inside and could explode at any moment, and yet he is able to seemingly keep his cool no matter the situation. Despite having a whole town against him he continues to do his job, and do it with a proud strength. The only time were he loses his cool is with Endicott, a man who more than any other symbolises all the problems of the time. And then you have Rod Steiger's terrific, Oscar-winning portrayal of Gillespie. His is a small town sheriff, inexperienced when it comes to dealing with a case of murder, especially when it concerns such an important individual. As a result he knows that Tibbs' input would be helpful, perhaps even necessary if a successful outcome is to be reached in the investigation. He gives a convincing and complex performance which really draws you in.

Outside of Poitier and Siegel the cast is populated with a series of colourful characters brought to life by vivid performances. From Lee Grant's hysterical widower to Larry Gates' despicable Endicott, Scott Wilson's slimy criminal to Warren Oates' voyeuristic cop it is a truly fine ensemble effort.

What I think is the film's most impressive feat is the way in which it deals with racism. It doesn't dwell upon the racist angle to the point were it just becomes annoying and preachy, and is handled in a believable fashion. It doesn't rely heavily on the kind of cliché scenes that usually populate a 'social message' film. For the most part it shows the racism being fuelled by fear, ignorance and jealousy, rather than just plain hatred. Gillespie is not just an out and out bigot but a layered individual. He treats Tibbs with a mix of distrust and disdain due to the colour of his skin, but that is seemingly conflicted with a sense of begrudging respect down Tibbs' standing as a police officer. With such an interesting character, and a fine performance from Steiger I actually found myself king of liking the guy by the end. What also works nicely is how it shows that the racism and unfair judgement is not just one sided. Tibbs is also guilty of judging and condemning someone when it comes to Endicott. It's quite clear that the man disgusts Tibbs, and it's not coincidence that in Tibbs' eyes he is far and away the no.1 suspect in the murder.

And the film doesn't shy away from the truly dark elements of racism, showing just how white people treated black people. It really is quite shocking when you remember that this was less than 50 years ago, and occurs in that great 'land of the free' called America. Indeed racism was still such a problem at the time and this film so controversial that it couldn't even be filmed in the Deep South. Instead they had to substitute Illinois in for Mississippi. I have to say I was half expecting the race element of the film to take precedent over the actual plot but to be fair it's actually a very satisfying little mystery, full of twists and red herrings. At no point was I ever confident that I knew where the film was heading. With a series of strong suspects and motives it's a gripping whodunnit which does not get lost amongst the racial and character elements. And at no point do the twists and turns feel forced, they all feel logical when they are revealed. It really is a sharply written, very impressive script.

This film has to be one of the best I've seen in a while when it comes to creating a terrific atmosphere. Right from the opening titles we are immersed into this swampy, muggy Deep South world of heat and sweat. A world where the claustrophobic town and its inhabitants are made to feel very real. And Quincy Jones' brooding, bluesy jazz score and Haskell Wexler's photography just add the finishing touches when it comes to helping to bring it all to life.

Conclusion - An immensely impressive film led by two standout performances which is able to work on a number of levels.

Wow this is a blast from the past I saw this at the movies when it came out just loved it then. haven't seen it for years must look for it and add it to my collection

It's been a while since I've seen this too. I forget now what I thought of how it handled racism, but from what you describe, it sounds like it had a nice perspective. Racism not as custom -- just the way we were raised -- or principles -- what is often called 'hate' -- but rather as something of a self-defense measure. Thus the poignant aspect of Gillespie's character. It was also just a pretty sweet movie.

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"Loves them? They need them, like they need the air."

Nice review of The Ides of March, I just watched it and thought it was a really enjoyable movie.

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Plot – John Lloyd Sullivan (McCrea) is a famous movie director of such light-hearted fare as “So Long Sarong” and “Hay Hay in the Hayloft.” Despite his pampered existence he gets the notion to make an 'important' movie about the troubles of America's downtrodden masses. When his producers correctly point out that his privileged life means he has no idea about the subject he wishes to tackle, Sullivan comes up with the brilliant idea to hit the streets dressed as a tramp with only a dime to his name in search of 'trouble'. Along the way he runs into The Girl (Veronica Lake) who joins him on his ride which results in more trouble than he could ever have imagined.

An absolutely delightful film from legendary director Preston Sturges. Brimming with wit and charm it made for some great viewing. Though it's not exactly what I was expecting. I thought I was in for a daft, knockabout comedy and while that is part of the film's make-up there is also quite a bit more to it than that. It really is a film of two halves. The first half is a bonanza of slapstick and satire before succumbing to a darker, grimmer tone; delivering a combination of comedy and tragedy. Along with the darker elements of the film's tone what also surprised me was the direction the story takes, with some twists and turns that I really did not see coming.

Joel McCrea and Veronica Lake make for a delightful pair. The snappy, fast paced dialogue that makes up their back and forth banter is a treat to listen to. McCrea convinces completely as Sullivan while Lake radiates warmth and beauty. While they may be the main source of the humour, they certainly aren't the sole source. Also highly entertaining are the exchanges between Sullivan and his producers who are advising him, and the scenes with Sullivan and his highly opinionated butler. As I noted earlier the humour is achieved through a mix of the lowbrow slapstick and much wittier and satirical fare. There is also some fun knowing laughs such as the fact that Lake's character has no given name, merely credited as “The Girl.” When a cop asks "How does the girl fit in this picture?" Sullivan replies, "There's always a girl in the picture. Haven't you ever been to the movies?"Another of my favourite moments was when Sullivan's servants phone the train station to inquire at what point do the bums get on board.

While it does use the plight of being homeless as the basis for comedy as far as Sullivan is concerned it also shows it in its harsher, realistic light. In particular the moment where we see Sullivan and The Girl visiting shelters and spending the night amongst the homeless in a completely wordless scene is really poignant and quite beautiful. And it doesn't shy away from showing the brutal side. When Sullivan goes around handing out $5 bills to the homeless people who are littering the streets everyone is grateful. Except for one man whose desperation appears so great that he can't help himself. He follows Sullivan and attacks him, leaving him for dead and stealing the remaining money. However luck is not on his side. While crossing over a railway yard he drops the money on the track. While desperately trying to grab as much of it as he can a train comes along and kills the man. Despite seeing the train he could not pull himself away from the money.

I enjoyed the conclusion that Sullivan, and the film as a whole comes to with regards to how important a silly little comedy can be. How wonderful it can be just to simply bring some laughter into the lives of people, people who really need it. The moment were Sullivan comes to this realisation is a lovely, magical little scene. As part of a chain gang he is treated to a picture show at a local church. Watching a Walt Disney Pluto cartoon these unfortunate convicts and the church-goers are brought together by this simple piece of entertainment, leaving Sullivan to look round at their laughing faces in wonder. He realises what great value these films really have. He comes to realise that the silly, light-hearted comedies he had been making all along are exactly what the poor and oppressed masses desire and need most; an opportunity to forget about their life and just have a laugh. As Sullivan himself puts it "there's a lot to be said for making people laugh."

Now I must say I don't know much about Preston Sturges, and in fact this is the first of his films I've ever seen. However I would guess that there is quite a semi-autobiographical element to it; a director of light-hearted comedies making a film about a director of light-hearted comedies. I don't know if he tried to make 'serious' pictures and this is the conclusion he came to, or if it was perhaps a message to other directors out there. A message that directors shouldn't try to teach audiences about issues they don't really understand, just focus on entertaining people. Leave preaching to the preachers.

Conclusion – A true comedy classic which both delights and intrigues. Whatever his message about concentrating purely on making comedy, Sturges actually achieves that rare feat of making a supremely funny film which also successfully incorporates a serious side and makes a real point. Certainly deserving of its lofty reputation

Wow you saw it at the cinema back in 1967?!!!! You must be ancient! What about Sullivan's Travels? Did you see that when it first came out?

Just kidding nebbs.

I am ancient

AAAAARRRRRGGGGGHHHHHHH!!!!!!!!!!!!!!!

That's the sentiment I felt at this film's conclusion. The ending of a film can be crucial to your enjoyment. Some can lift a film beyond were it was heading, while others can slightly sour what has come before. And then there are the extremely rare cases were the ending feels like it just takes a massive s**t on everything you have just watched and you are left so extremely p**sed off!!! This is one of those rare occasions.

I mean seriously what the f**k?! While this wasn't anything truly special, for about 100 or so minutes this was a highly enjoyable thriller, and then the ending comes and just makes a mockery of it. It is just so illogical that it left me damn near fuming. You could argue that much of the film is far-fetched and unrealistic, and that the ending fits within those parameters. But the ending really pushes it over the edge. And I did have my fears about it. Throughout I was thinking this film better have a decent ending that can reasonably tie all this together or else it may just all fall apart. And fall apart it does, spectacularly so (for me at least). I don't know if it was Fincher's idea or not, but I could easily imagine the fingerprints of some studio executive being on this, demanding an upbeat conclusion which clears everything up.

No matter how much you buy into the whole psychological testing element there is no way you can convince me that they could plan out every single detail so perfectly to the nth degree that they could not only predict that he would try to commit suicide, but that they would be able to pinpoint the exact spot of impact. And really, Michael Douglas' character goes from trying to kill himself to just seconds later laughing and hugging his brother for putting him through this? Surely he should be a gibbering wreck or absolutely livid. I mean if I had been put through all of that I would be out for bloody revenge!

I can perhaps see the reasoning behind it thematically, giving the character an emotional awakening to appreciate life by making him face his father's suicide, that he will no longer be in the shadow of it or fearing that he will do the same. But it just doesn't work at all logically. From very early on I assumed it was all going to be a game but the longer the film went and the more he was put though I started to think 'no there's no way, they can't possibly justify it.” If I ever watch this again, I think I will just switch the film off after those 100 or so solid minutes and make up my own ending. I'd be a lot happier that way. I know it's 'only a movie' and usually I have no problem with abandoning my sense of disbelief and just getting caught up in it all, but this just asked me to take a leap of faith I wasn't prepared to make.

Anyway with all of that out of the way let's move on to the positive stuff, and there actually is a good bit of it. The most impressive element of the film for me is how it creates the paranoia and fear of the situation. Like a lot of great thrillers it gets you imagining about how awful it would be if you were in that situation, and start thinking to yourself 'what would I do?' It really is a very intriguing premise and makes for an interesting psychological mystery. Fincher's direction is a big factor at creating this atmosphere, mixing a sort of Hitchcock flair with a flashy MTV generation style. And he delivers it a great pace.

Actually Michael Douglas may be the film's ace card, he is pretty great here. He's always good at playing a bit of an a**hole but this time because of what he goes through we actually root for him. He excellently captures the growing anger and confusion of the character, along with his degrading sanity. No-one else really gets enough time to make much of an impression, not on me at least. Though to be fair Deborah Kara Unger is actually quite alluring and intriguing as the femme fatale of sorts.

My score is actually pretty generous all things considered. I have given the film the benefit of the doubt and allocated the majority of its score to everything that came before that ending; only allowing the last 10 minutes to knock a small bit off the score. It's a good thing it took me a couple of days to get around to writing this though. If I had written it in the immediate aftermath you might be looking at a 1/5 rating. Actually I think I've been too generous!

Conclusion – An intriguing premise, engrossing central performance and impressive direction are almost destroyed by an ending that defies belief. And what a shame as up till then this was good fun.

Nice review just rewatched this recently or this year also feel it was ok till ending

Never actually finished The Game, but I already knew the twist, so it kinda took away from my overall enjoyment.