
A famous psychologist, Margaret Ford, decides to try to help one of her patients get out of a gambling debt. She visits the bar where Mike, to whom the debt is owed, runs poker games. He convinces her to help him in a game: her assignment is to look for "tells", or give-away body language. What seems easy to her becomes much more complex.... (Full plot summary below)
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A famous psychologist, Margaret Ford, decides to try to help one of her patients get out of a gambling debt. She visits the bar where Mike, to whom the debt is owed, runs poker games. He convinces her to help him in a game: her assignment is to look for "tells", or give-away body language. What seems easy to her becomes much more complex.
Leave your thoughts about House of Games.
| Slant MagazineMatt Zoller SeitzHis meticulous, largely self-taught directing style—dazzlingly showcased in House of Games, a master class in dramatically functional compositions and camera moves—should be mandatory viewing for any would-be filmmaker. |
| Chicago Sun-TimesRoger EbertThis movie is awake. I have seen so many films that were sleepwalking through the debris of old plots and second-hand ideas that it was a constant pleasure to watch House of Games, a movie about con men that succeeds not only in conning the audience, but also in creating a series of characters who seem imprisoned by the need to con, or be conned. |
| Cinema em CenaPablo VillaçaO roteiro é mais previsível do que Mamet desejaria e seu primeiro trabalho na direção exibe uma teatralidade que ele gradualmente superaria, mas, apesar disso, a complexidade de seus personagens e a dinâmica de seus diálogos são admiráveis. |
| The A.V. ClubScott TobiasThe clipped tough-guy language, Juan Ruiz Anchía's rich chiaroscuro lighting, the layers of "short cons" and larger deceptions—they're all elements of a genre whose time had passed, but that Mamet was able to revive with effortless aplomb. |
| The New York TimesVincent CanbyThough House of Games is not of the dramatic heft of the playwright's ''American Buffalo'' and ''Glengarry Glen Ross,'' the screenplay is the first true Mamet work to reach the screen, and the direction illuminates it at every turn. Both Miss Crouse and Mr. Mantegna and the supporting actors, including Mike Nussbaum, J. T. Walsh and Steve Goldstein, are splendidly in touch, not only with character but also with the sense of the film. |
| Chicago TribuneGene SiskelA wildly profane stew of twists and surprises. And for the most part, the ways in which the various elements combine are enormously diverting. It's a clever, intelligent piece of work with an impulse to surprise and entertain. It's also a crock. |
| CinemaniaDan JardineDavid Mamet's sometimes baffling, never less than fascinating glimpse into the dark underbelly of this world where it turns out that winning games of chance involve more skill (and con artistry) than luck. |
| EmanuelLevy.ComEmanuel LevyA conceptual film about con artists, Mamet's feature debut is a deadpan, deviously comic melodrama that proceeds with twists and reversals and builds like a poker game in which the stakes are higher and higher. |
| Movie MetropolisJohn J. Puccio...will keep you on your toes and guessing from beginning to end. |
| Los Angeles TimesMichael WilmingtonMantegna and Nussbaum are so good as the con artists that their reading of Mamet's dialogue--and often Crouse's reading as well--justifies the movie. These actors have worked many times on stage with Mamet, as have J. T. Walsh, and cardsharp Ricky Jay (as a Las Vegas gambler), and when they latch onto these lines, they're like seasoned pitchers palming and scuffing the ball. Oozing confidence, they, and Mamet, put on a coldly skillful, killingly well - calculated show. |