The Game's Afoot

Though Aaron Sorkin's writing is praised by critics and fans alike, many (of both) have noted that he isn't always great with the way he writes women. Perhaps in direct response to this came his most recent film -- which was also his directorial debut -- Molly's Game.

Molly's Game is based on the true story of Molly Bloom, an Olympic skier whose career-ending accident leaves her needing to make a radical shift in her life. It comes in the form of running a high-end underground poker game that eventually entangles her in an FBI investigation.

It's always nice to sit down with that crackling Sorkin dialogue. He's what many would call an auteur; although this is the first time he's directed, his style is as pronounced and distinct as that of the Wes Andersons, Coen Brothers, or Martin Scorseses of the world. Put down the phone and pay strict attention, and you will be rewarded. Molly's Game is no different.

The character of Molly Bloom herself is different written to be as prickly, swift, and witty as any protagonist Sorkin has ever created. Jessica Chastain takes this and runs with it, giving a fantastic performance. She presents the perfect balance of pretended aloofness and hidden agendas. She also deftly handles an extreme amount of voice-over narration, with such skill that it seems like the only natural way to tell this story.

But there are more stand-outs in the cast. Idris Elba plays the lawyer working to help Bloom with the FBI. Elba is excellent for not giving in fully to the Sorkin rhythms. He's a more deliberate, slow-paced, stabilizing force. His character is biting and sarcastic and insightful as so many Sorkin characters are, he just resists the pull up to the rat-a-tat pacing that normally comes with all that. Lending this second gear to the movie is very much to its benefit.

Also (perhaps surprisingly) turning in a great performance is Kevin Costner as Molly's father. It really comes down to a key scene near the end of the movie, one that comes dangerously close to wresting the narrative away from the protagonist and undermining the feminist credit Sorkin might be building here. But it doesn't quite cross that line, and that's due I think in large part to the sensitive touch given by Costner.

There are a few flaws here and there. For example, the movie gets a lot farther into the weeds about playing poker than it really needs to tell the story -- Molly herself isn't a player, after all. (And mind you, I'm saying this as someone who personally loves poker.) But overall, this is a solid movie about emotional damage. I give it a B+. Chances are you've already seen it if you're a fan of Aaron Sorkin, but if not, put it on your list.