a5c7b9f00b Jake Green is a hotshot gambler, long on audacity and short on common sense. He's rarely allowed to play in any casino because he is a winner. Jake has taken in so much money over the years, he is the only client of his accountant and older brother Billy. One night, Jake, Billy and their other brother Joe are invited to sit in on a private game, where Jake is expected to lose to Dorothy Macha, a crime boss and local casino owner who can't play for squat, but always wins because people are too scared to beat him. Jake isn't afraid of Macha, and not only beats Dorothy in a quick game of chance, but takes every possible opportunity to insult the man. Jake and his brothers leave the game, and Macha puts out the order for a hit on Jake, who ends up working for and being protected by a pair of brothers, Avi and Zack, who are out to take Macha down.
Gambler Jake Green enters into a game with potentially deadly consequences.
Now, I'm not a typical "testerone" viewer, I won't go watch any action movie that has big explosions or lots of death and destruction. I think this is a much more complex work for Ritchie than his previous work (i'm thinking of lock stock and snatch, rather than swept away.<br/><br/>I do acknowledge that it can be hard to follow at times. His plot is not executed a la Lynch, in that the "twists" aren't completely out on Mars, that if you follow the bread crumbs, you can find what you're looking. You just have to know what to look for.<br/><br/>Gold is a fiction, he does not exist, but everyone comes to believe that maybe they are gold. Gold is the greatest con every conceived (in the realm of the movie), in that people fear what they cannot see, and they'd rather die themselves than find out what this mysterious person has waiting for them. Stratham's fellow con men from prison reveal that even though thought he really didn't knowmuchhe thought he did. They know more than anyone else, because they had created the con in the first place. Get your opponent to believe that there is someone bigger, stronger, than you, and they either eliminate each other, or they eliminate themselves.<br/><br/>It's a bit of a stretch to get a general audience to get their head around this, especially in one viewing. And admittedly including anime for no reason was a bit odd, but justmuchit didn't fit in Kill Bill either. I don't claim to hold all the answers, but this is what I got from the movie. At times I was a bit lostwell, but it eventually clicked for me.
"First rule of business: divorce Madonna, Ritchie." <br/><br/>Watching this gangsterial confusion reminded me of "The Usual Suspects", "The Game" (both of which were far-fetched but made sense), all mixed in with a very large dose of any utterly illogical Lynch movie, like "The Lost Highway", and any dumb-but-entertaining Verhoeven film, suchthe cretinous but fun "Basic Instinct". This movie doesn't so much offer twistsit tries to invent a new genre: "the intellectual's gangster film". (Don't laugh.) All well and fine, becausefarI'm concerned they can try to invent "the intellectual's musical" too (as longit's watchable, why not), however the problem with this is that two distinctly UNintellectual people wrote the script and story: Guy "I-Married-A-Cabbala-Moron" Ritchie and Luc "Always-Style-Over-Substance" Besson. The script has so many logic holes, and is so preposterously far-fetched that it can be enjoyed onlya drug movie - with the difference that you really need no drugs whatsoever to end up feelingthough someone drugged you. I've never taken any illegal drugs in my life, so I can only guess whether or not illegal-substance intake closely resembles watching a movie like "Revolver".<br/><br/>"The only way to get smarter is by marrying a smart woman."<br/><br/>This is where the style comes in. Fortunately for the movie, it is very stylish, has many interesting scenes, and a good cast (apart from Andre 0.003, who was apparently trying to perfect his posing for the upcoming MTV awards show). Hence I didn't mind that much being utterly confused, because the movie's entertainment value cannot be denied. It was like watching "eXistenZ", "Dark City", "Possible Worlds" or any other movie that plays with reality and the viewer's head - with the essential difference that all these movies make sense in the end. After all, it takes patience and intelligence to put together a complex and bizarre story which will form a complete and cohesive picture - something our English-French duo completely failed to do. It's not just the ending that is confusing, the entire movie is almost impossible to follow.<br/><br/>"The greatest enemy will hide in the last place you would ever look - sometimes that enemy may even be in the Cabbala woman you chose to marry."<br/><br/>One thing I'd like to point out about the positive reviews: everyone who loved it says how they "got it", but no-one actually dares to write what it is exactly that they "got". From the dozen or so more extensive 10/10 reviews that I looked at, no-one wrote even a half-a**ed summary of what supposedly happens during the 2 hours. This is logical/predictable because there was nothing to "get", hence any attempt to explain the unexplainable would have ended up embarrassing the comments' writers, and they must have all sensed this - and chickened out. "Revolver" is precisely the kind of indefensible crap (from the point of view of its logic and intelligence) that draws people with inferior intelligence (and those who fear they may be less intelligent than they'd like to be) to praise it, claiming proudly how they understood it after 8 viewings.<br/><br/>A word of advice: if you watch a muddled plot 8 times, in the end you will convince yourself that you understood it. It's like watching a Picasso piece of crap: if you stare at it long enough you'll see things that aren't there, just like those nice little drawings shrinks give some of their patientspart of an evaluation.<br/><br/>There was nothing wrong with Ritchie trying something new. As terrifichis first two movies were, there is no point in making the same type of movie, over and over. On the other hand, if Luc Besson is the person you choose for any kind of (intellectually) ambitious endeavor, then you mightwell forget it.<br/><br/>"There is no avoiding war, it can only be postponed to the advantage of your enemy - the way Madonna would like to avoid war with America's enemies, giving them the added advantage of more time."<br/><br/>For some high-quality Madonna reviews, go to: http://rateyourmusic.com/~Fedor8.
The film's pretentious style and fractured storytelling preclude any audience involvement in the coy melodrama.

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