The Gambler
The Gambler

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Jim Bennett is a risk taker. Both an English professor and a high-stakes gambler, Bennett bets it all when he borrows from a gangster and offers his own life as collateral. Always one step ahead, Bennett pits his creditor against the operator of a gambling ring and leaves his dysfunctional relationship with his wealthy mother in his wake. He plays both sides, immersing himself in an illicit, underground world while garnering the attention of Frank, a loan shark with a paterna... (Full plot summary below)

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Full Plot Details

Jim Bennett is a risk taker. Both an English professor and a high-stakes gambler, Bennett bets it all when he borrows from a gangster and offers his own life as collateral. Always one step ahead, Bennett pits his creditor against the operator of a gambling ring and leaves his dysfunctional relationship with his wealthy mother in his wake. He plays both sides, immersing himself in an illicit, underground world while garnering the attention of Frank, a loan shark with a paternal interest in Bennett's future. As his relationship with a student deepens, Bennett must take the ultimate risk for a second chance.

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Movie Reviews

Indiewire - 8/10 by Michael NordineFor all the hundreds of thousands of dollars being thrown around, The Gambler is much closer to a friendly game of poker with some loquacious, quick-witted friends than a glimpse at the gambling world’s dark underbelly. Neither is it a preachy moral tale.
San Francisco Chronicle - 8/10 by Mick LaSalleActually, Mom is the essential difference between Wahlberg and Caan. Caan has the glow of mother love on him. Wahlberg plays Jim as having made the adjustment to a lack of love, but in a twisted way. He's gambling now to see if the universe loves him.
Hitfix - 8/10 by Drew McWeenyThis is a film that is quietly confident. Everything's well-composed. Everything's put together right. There's a very sure hand on the wheel here, and at this point, I'm sold on Rupert Wyatt as a guy who can tell a story with a certain kind of intelligence, both towards his subject and towards his audience.
The Guardian - 8/10 by Jordan HoffmanThis spiral of self-imposed despair feels like part three of a trilogy of American financial darkness after Killing Them Softly and The Counsellor. The Gambler isn’t quite so audience-unfriendly, but those looking for a typical Wahlberg thriller might come away disappointed. Others looking for a less sure bet might reap the rewards.
Miami Herald - 8/10 by Rene RodriguezThe new version uses addiction as a vehicle to tackle larger themes, eloquently explored by Monahan’s dialogue, which sings in a way uncommon to tough-guy crime-dramas.
ReelViews - 8/10 by James BerardinelliThe 2014 iteration isn't as good as its 1974 predecessor but it offers its share of small pleasures, not the least of which is the crisp, sharp dialogue that never loses its punch even when it veers close to the edge of pretentiousness.
New York Post - 8/10 by Kyle SmithDialogue, we seem to have forgotten, matters, and the words — by the brutally funny screenwriter of “The Departed,” William Monahan — are electric eels, slithering and sinister and nasty. They sneak up and sting you, or sometimes tickle your toes. Lowlifes don’t actually talk this way? Yeah. But if only they did.
New York Magazine (Vulture) - 7/10 by Bilge EbiriWahlberg grows into the part. He may not be right as a precocious, self-loathing intellectual, but he's very much at home playing a dickhead who's gotten in too deep. And as The Gambler becomes less about its protagonist’s dashed intellectualism and more about the gathering danger of his predicament, the film gains power.
Village Voice - 7/10 by Stephanie ZacharekThe pleasures offered by The Gambler are simple, but don’t hold that against it. Wyatt, director of the 2011 surprise hit Rise of the Planet of the Apes, brings some bristly, swaggering energy to the thing, and that in turn may have loosened Wahlberg up: He’s both more intense and freer than he’s been in years.
The Dissolve - 7/10 by Scott TobiasWyatt is a supremely confident filmmaker. His style is multitudes sleeker than Reisz’s original, but his eclectic taste, particularly in the soundtrack, reveals a true connection to the earlier era.

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The Gambler