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The Game

movie reviewmovie reviewmovie review out of 4

*Also starring: Sean Penn, Peter Donat, James Rebhorn, Armin Mueller-Stahl, Carroll Baker, Anna Katarina, Spike Jonze

Review by Nastmil
4 stars out of 4

"What do you give the man who has everything? ". The film opens with flashbacks to party preparations in a mansion. This opening scene gives the apparent genre/style of thriller and mystery, but as you later find out this genre is misleading which draws in the viewer just as the director David Fincher intended.

The lighting of sets the sets and props helped the director to keep his genre of Thriller/Mystery running through the film right to the end. The lights themselves helped to keep the fell and look of mystery this was achieved with lights in Nicholas office eg. The lights are on but they give no illumination giving his office a dark and mysterious look.

Today is Nicholas birthday, but, not caring about and human being including himself. When one of his minions wishes him " Happy Birthday", he remarks that he never liked her. At home in his mansion, his routine consists of listening to the CNN Finical News Network while enjoying simple sandwiches served on elaborate dishes. At work, he negotiates big deals with a cutthroat attitude.

The film includes and assortment of witty lines - as when Schorr, giving a TV rundown of the day's Business Affairs, speaks directly to Van Orton who is watching the screen in his spacious home. The film provides almost enough clues to allow the audience to figure out the regulations and anticipate two particularly amusing plot twists.

The director David Fincher style in the film " The Game" is twisted, dispute the director's twisted view of the movie he managed to get his idea across to his audience. An example of the directors twisted view is when Nicholas Van Orton puts a blood-shocked tissue into the toilet, which 'overflows', which has no point.

The film was mainly set in " San Fransico" in the part of the city with the Skyscrapers which shows how wealthy Nicholas Van Orton is, it wasn't just the Skyscrapers which showed the wealthy of Nicholas (played by Michael Douglas) is the fact that he lives in a Manson and drives the Latest BMW (Bavarian Motor Works). The props also play a major part in the films atmosphere, this was achieved by the fact that they look like a fancy office which suit Nicholas Van Orton a man who has a Bank Balance of six-hundred million dollars.

As the film moves to the present with Nicholas Van Orton (Michael Douglas), an immensely wealthy investment Banker who lives a life of extreme luxury. He mixes with the best, and yet is patently lonely. The film also stars Deborah Kara Unger, who plays the devious and inscrutable Christine is superb. Especially in her role as the bitter and resentful waitress.

As the film continues the plot begins to thicken with the arrival of Nicholas younger brother Conrad, cheekily presenting his older brother with a birthday gift voucher from a mysterious adventure company CRS (Consumer Recreation Services).

As the story continues to unfold you can't help but be confused with the plot, but as the film progress the plot begins to reveal the true nature of the story.

During the opening scene the director (David Fincher) tries to get the point across that Nicholas equal power. However, when he encounters CRS he comes under a barrage of subtle or not so subtle attacks, which are all designed to rob him of his power. These attacks started at CRS, when the receptionist shunts Nicholas Van Orton up with a raised finger.

After Nicholas visit to CRS, his increasing paranoia is revealed by slow-motion filming as through his eyes, he takes a second and third look at complete strangers, but all to no avail- he's being done over by Professionals!

Part of the fun in watching the film is seeing this unsympathetic character being dragged through the mud over and over again. The attempt at audience empathy is at odds with the film's continuously nasty nature.

As the film moves towards its climax we are threatened with the plot reverting to a degree of conventionality, but director David Fincher continues with the twists, as Nicholas Van Orton hasn't yet fallen to the required depths.

A lesson is supposed to have been learned at the end of the film, but I'm not at all sure exactly that is. But that hardly matters; what does is that for a little over two hours, David Fincher takes the audience on a breathless, harrowing ride whose considerable pleasures are measured in dread and discomfort.

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