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Gambling movies

The 25 Best Movies About Gambling

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Gambling movies multimedia sites

Postby Mataxe В» 10.03.2020

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Last winter, I found myself in card clubs again. Maybe every 10th or 11th day, nothing too disturbing. You could have paid for a nice dinner and a nice bottle or two of wine with the money you lost tonight, but that dinner would have lasted only two hours at most, and you played cards for six hours — and so forth. On one of these nights, I met a year-old kid who grew up in my hometown. He told me that he had dropped out of college after his freshman year to have a go at professional poker.

He was doing pretty well, all things considered — he made enough money to pay rent, buy clothes and attend music festivals. What else does a year-old need in New York City? I would text him, and he would invariably be playing somewhere in the city, and I would head down, dump a few chips and talk to him about hand strategy, game selection, poker theory — all the things I was interested in when I was a younger, more optimistic card player.

We took a few road trips to Atlantic City, where we were comped rooms thanks to the off-season and urban decay. The kid made it seem possible. I staked part of his buy-in to one of the tournaments, and he sent me updates throughout his run to a respectable finish in the money.

Anyone who has watched a gambling movie knows what happened to the kid in Vegas and can guess what kept happening once he got back to New York. Every gambling story ends the same way. This, oddly enough, is what makes it the perfect narrative for movies. The American epic requires an easy binary, preferably one that connotes complexity without actually being complex.

The director of a gambling film really needs only an actor who suffers well and the courage to clear everything else off the table. Plot lines within the genre are simple by necessity. There is really only one: the gambler falls into debt; the gambler goes after one big score to get even; the gambler either does or does not get even.

The variations on that story depend, mostly, on whether the filmmaker sees gambling as a catastrophic vice or a charming hustle. Segal meets Gould while playing cards in Southern California. Segal begins to believe Gould is his good-luck charm. Segal falls into debt. Segal and Gould head to Reno to try to get even. Altman offers his protagonists no quarter. Altman is so focused on squalor and hopelessness — the mute dealers, the lounge singer with the smoke-ravaged voice, the janitor who, while sweeping the casino floor, pumps quarters into a slot machine — that he misses the small moments of humanity among degenerates.

From my own years in those same card rooms in Los Angeles, I can report that things might be terrible, but they are not quite so theatrically terrible. Most of the time passed in boredom and desperation is muted; it hangs and sags. Does it have my name on it? His secrets stay secret. There is a glimmer of dignity there.

The degenerate who falls deeper into degeneracy; the triumphant cardsharp who finally beats the house; the hustler who wants to play for the love of the game over the love of the gamble. Of these three, only the degenerate reflects reality. He does not exist if not for this glimmer of false hope. The setup is familiar — Gerry owes money to everyone around town, so when Curtis shows up and inspires a short-lived change of luck, Gerry corrals his new friend and pulls up stakes in search of a run of hot cards.

Mendelsohn might not have a beautiful face, but no one suffers quite as haggardly or as creepily as he does. But like a basketball team that signs a huge star without building a team around him, Boden and Fleck seem far too content to coast on the idea of Mendelsohn-as-degenerate, without giving him a fully developed film to inhabit. I, at least, never did. As the trip goes on, however, we learn more about both men: Gerry has an estranged wife and daughter; Curtis suffered abuse at the hands of his grandfather as a child.

You can hardly begrudge a filmmaker for trying to fill in characters, but none of this information does much to deepen our connection with them; the personal details feel tacked on, manipulative. In real gambling, there is no a clear line between trauma and the casino.

Conversations never go beyond an imminent football game or some bad beat you took. Metaphors exist only as superstitions. The pathos in a good gambling film rises out of this unmoored infinity. Our sympathy comes from knowing not what makes a character a problem gambler, but from knowing that there is no real resolution for him. Personal details muck that up. All we know about Fast Eddie Felson is that he comes from Oakland and that he has been on the road for a while.

And when Segal finally gets over in Reno, he refuses to let Gould watch him play. Each film ends with the hero walking out of a room without telling anyone where he is going. After Gerry makes his exit, instead of casting him off into the unknown, Boden and Fleck give us one last scene in which Gerry puts a photo of his estranged daughter up on the sun visor of his beat-up Subaru.

The credits roll. Gerry, we presume, has been changed. I have spent my fair share of time in poker rooms and casinos listening to all kinds of lies about money, women and catastrophe, but I have never met anyone audacious enough to try to sell the fantasy of a gambler who runs up half a million dollars and walks away to start a life of filial responsibility.

In gambling, resolution — whatever that means — lies somewhere else. The great films understand that happiness is not the end of the story, but rather something you find fleetingly in those dirty, compromised spaces where you meet someone with the same problems, and they make you forget, at least for a little while, that they are problems at all.

The Perfect Predictability of Gambling Movies.

Roulette (2010) - Gambling Thriller, time: 1:10:21
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Postby Shaktilrajas В» 10.03.2020

His financial sits forces him to become a croupier dealer at a London high-street casino. These cookies do not store any personal information. No wonder it scored a staggering 7.

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Postby Mezilkree В» 10.03.2020

Maybe every 10th or 11th day, nothing too disturbing. Perhaps the most heartwarming story is that of Ben Campbell played by Jim Sturgessa http://enjoygain.online/gambling-near/gambling-near-me-vacancy-2018-1.php student and an aspiring medical doctor. I have a list of many more we will eventually review.

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Postby Yoramar В» 10.03.2020

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Postby Shakazuru В» 10.03.2020

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Postby Shaktitaur В» 10.03.2020

Plot lines within the genre are simple by necessity. Promoted links by Taboola. Top Offers.

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Postby Grotaur В» 10.03.2020

Before they jumped aboard the Marvel bandwagon, Half Nelson filmmakers Anna Boden and Ryan Fleck crafted this lovingly gambling two-hander about a multimedia of gambllng gamblers driving down south to a New Orleans poker game with potentially big payoffs. No wonder it scored a staggering 7. Ben Mendelsohn knocks it out of the movies playing the guy we all sites and maybe are.

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Postby Grozshura В» 10.03.2020

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Postby Juzuru В» 10.03.2020

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Postby Vuzil В» 10.03.2020

Jessica Chastain is coiled-cobra cocky as Molly, walking us through this illegal but highly addictive and lucrative ecosystem as she becomes the queen of organizing high-stakes games. How to Bet On Sports. Metaphors exist only as superstitions. Last winter, I found myself in card clubs again.

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Postby Togar В» 10.03.2020

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Postby Karamar В» 10.03.2020

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