Rewind: ‘Molly’s Game (2017)’ Review
Stars: Jessica Chastain, Idris Elba, Michael Cera, Kevin Costner, Graham Greene, Chris O’Dowd, Bill Camp | Written and Directed by Aaron Sorkin
Known for his acclaimed screenplays with The Social Network, A Few Good Men, and TV’s The West Wing, Aaron Sorkin made his directorial debut in 2017 with Molly’s Game, an adaptation of Molly Bloom’s 2014 memoir of the same name. The story initially shows Bloom (Jessica Chastain) as a promising skier whose dedication and calculations cannot match an unseen variable in the form of a frozen pinecone.
The film then cuts to twelve years later, when the FBI arrest Molly for running illegal gambling operations. The story then unfolds across two timelines, with the present showing Molly preparing for court with the help of New York lawyer Charlie Jaffey (Idris Elba), while the past shows how former skier went from a career-ending injury to establishing herself running high-stakes poker games.
Chastain delivers an accomplished performance in the titular role, capturing this woman whose recalibrated goals of a promising law career repeatedly become postponed. This is due to the large tips she receives from players, enticing her further into this world. Standing tall across these games is Player X, a chilling figure brought alive by a tremendous Michael Cera. This character is a composite of celebrity gamblers, such as Tobey Maguire and Leonardo DiCaprio, with the on-screen figure playing the game for the thrill of destroying others. There is also a compelling subplot involving a terrific Bill Camp, whose player gets in over his head during the game.
While Sorkin is known for delivering sharp scripts, especially with the dialogue, this is not a good example of his talents. He may have previously gifted viewers with compelling monologues, yet this resorts to tiresome rambles about unrelated facts and dictionary definitions. There is also the plot’s messy delivery, right down to how Molly’s troubled relationship with her father feels largely forgotten about until the sudden and tacked-on emotional climax. This does not feel like the work of a multi-award winner, but instead a formulaic try at replicating his work.
As for his direction, the result is a mixed bag. Credit is deserved for the card game sequences, delivering effective bouts of tension as the players stake their worth on their hands. These work better than the more familiar scenes which depict violence, a character in trouble, or somebody on-the-run. Considering it is his first directorial credit, it is understandable that Sorkin was still finding his feet regarding his own style. This unfortunately leaves the familiar scenes to feel like lesser versions of what audiences have seen many times before, across an overlong runtime. Hopefully, Sorkin’s directorial follow-ups capture his voice better, because Molly’s Game falls short where that is concerned.
