Sorkin aces his directorial bow
Aaron Sorkin, the man who penned The West Wing, The Social Network and Moneyball, finally turns his hand to directing – although he couldn’t resist also writing his behind-thecamera bow.
With the aforementioned two movies, and Steve Jobs, Sorkin is no stranger to adapting true-life tales, and does so again with this sortof-biopic of Molly Bloom.
Bloom (played by Jessica Chastain) was a former Olympic skier who went on to run the world’s most exclusive high-stakes poker game, becoming a target for the FBI in the process.
Despite the odd misstep (The Huntsman: Winter’s War , Lawless), Chastain is one of the finest actresses of her generation and I’d be surprised if her latest stirring turn doesn’t put her in the frame for an Oscar.
Bloom’s journey from timid hanger-on to power player is expertly conveyed by the 40-year-old Californian; both resolute and vulnerable – at times in the same scene – Chastain’s lead is a mesmerising character from beginning to end.
Sorkin’s adaptation of Bloom’s own, sametitled, book gives Chastain lots of meaty material to chew on and while the supporting cast is full of familiar faces, none can hold a candle to the leading lady.
Idris Elba gives it the best shot as wary lawyer Charlie Jaffey in another reminder that the Londoner is sure to make it even bigger in Hollywood than he already has.
There are neat – very different – small appearances from Michael Cera (Player X) and Irishman Chris O’Dowd (Douglas Downey) and after shining in Man of Steel, Kevin Costner adds another soulful father to his CV as Molly’s composed and demanding clinical psychologist dad Larry.
The story is framed by Chastain’s spiky, honest narration and while having a lead character spouting dialogue over proceedings has felt unnecessary and even jarring in many a movie, here it adds so much to the journey Molly takes.
Wisely staying clear of a straight, point A to point B biopic template, Sorkin hops back and forward through time and it’s interesting to see how much Molly changed her own life – and the opinions of those around her.
What does hold the film back, though, is Sorkin’s inability to seep through the murky morals and give a clear answer as to why we should truly root for Bloom’s quest to swipe thousands of pounds from the wallets of keen gamblers.
There’s also no escaping the fact that the first half is far superior to the second as Molly’s Game buckles under the weight of its hefty two hours, 20 minutes running time.
Sorkin’s directorial debut can’t quite match the brilliance of some of the flicks he’s written, then, but the New Yorker still shows a sure enough hand to suggest he’ll return with a royal flush in the future.