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Croupier deals with interest. Jack Manfred is a struggling writer who is set up by his gambler father for a job dealing at a London casino. Catching inspiration from the seedy setting of his employment, Jack starts to write about his experiences. But although it makes for a good story, the reality is that his life is spiralling out of control. Croupier is known for two main things outside of being a good and interesting film. Firstly is that it launched the career of Clive Owen, lifting him out of the TV mainstay league and into the Hollywood subconscious. Secondly is that it was largely ignored on release in its homeland of Britain, but after America took a liking to Mike Hodges tantalising tale, it scored a re-release and Owen and the film have not really looked back since. Though not quite deserving of the sleeper gem reputation it has, Croupier none the less is a strong London based thriller set amongst the ducking and diving world of the all night casino. Led by an engaging Owen performance, the characters are meaty, with Hodges and his writer Paul Mayersburg creating a nice line in paranoiac mystery. There's a bit of an overdose of twisters in the final straight, but in the main Croupier comfortably holds the attention span for the 90 odd minutes run time. 7/10
Such a shame. This is actually a decent film, but is ruined and turned into an unwatchable laughing stock by one simple thing. The film's title, the main protagonist's job, is mispronounced throughout the entire film. Unfortunately this is completely at odds with the image the film seeks to create, as well as being like fingernails down a blackboard to have to listen to for over an hour. If correct use of language doesn't matter to you, you'll probably like this film.
I’ll admit I had high hopes for _Croupier_—a cool, smart British film set in the gritty London of my late teenage years, a city I loved, but that’s since vanished. And to be fair, the plot is clever and hooked me early on. There’s a slick, noir-ish vibe that’s easy to settle into, and Clive Owen absolutely looks the part. But while the script has its flaws, it’s the direction that really lets the film down. The pacing drags, and there’s a cold, clinical detachment to everything, making it almost impossible to connect with any character. You’re kept at arm’s length, which drains the film of tension and emotional weight. Owen ends up stuck in second gear—not entirely his fault. He’s far more compelling as the third-person narrator than he is on screen. And for a film supposedly steeped in risk, desire, and moral compromise, it’s shockingly unsexy. The female characters are flat and one-note, mostly there to pout, sulk, or stand around topless. The detour to the Oxfordshire party is a perfect example of the film’s missteps—pointless, tonally off, and best forgotten. Stylistically, it’s a full-on late ’90s time capsule—for better or worse—and hopefully, Owen’s hat, along with some of the film’s more outdated choices, stay locked inside it.
When illegal card dealer and recovering heroin addict Frankie Machine gets out of prison, he decides to straighten up. Armed with nothing but an old drum set, Frankie tries to get honest work as a drummer. But when his former employer and his old drug dealer re-enter his life, Frankie finds it hard to stay clean and eventually finds himself succumbing to his old habits.
London, 1929. Frank Webber, a very busy Scotland Yard detective, seems to be more interested in his work than in Alice White, his girlfriend. Feeling herself ignored, Alice agrees to go out with an elegant and well-mannered artist who invites her to visit his fancy apartment.
London is terrorized by a vicious sex killer known as The Necktie Murderer. Following the brutal slaying of his ex-wife, down-on-his-luck Richard Blaney is suspected by the police of being the killer. He goes on the run, determined to prove his innocence.
A couple vacationing in Morocco with their young son accidentally stumble upon an assassination plot. When the child is kidnapped to ensure their silence, they have to take matters into their own hands to save him.
"The Hours" is the story of three women searching for more potent, meaningful lives. Each is alive at a different time and place, all are linked by their yearnings and their fears. Their stories intertwine, and finally come together in a surprising, transcendent moment of shared recognition.
Heroin addict Mark Renton stumbles through bad ideas and sobriety attempts with his unreliable friends - Sick Boy, Begbie, Spud and Tommy. He also has an underage girlfriend, Diane, along for the ride. After cleaning up and moving from Edinburgh to London, Mark finds he can't escape the life he left behind when Begbie shows up at his front door on the lam, and a scheming Sick Boy follows.
Held in an L.A. interrogation room, Verbal Kint attempts to convince the feds that a mythic crime lord, Keyser Soze, not only exists, but was also responsible for drawing him and his four partners into a multi-million dollar heist that ended with an explosion in San Pedro harbor – leaving few survivors. Verbal lures his interrogators with an incredible story of the crime lord's almost supernatural prowess.
Bridget Jones is an average woman struggling against her age, her weight, her job, her lack of a man, and her various imperfections. As a New Year's resolution, Bridget decides to take control of her life, starting by keeping a diary in which she will always tell the complete truth. The fireworks begin when her charming though disreputable boss takes an interest in the quirky Miss Jones. Thrown into the mix are Bridget's band of slightly eccentric friends and a rather disagreeable acquaintance into whom Bridget cannot seem to stop running or help finding quietly attractive.
A retired San Francisco detective suffering from acrophobia investigates the strange activities of an old friend's wife, all the while becoming dangerously obsessed with her.
George, host of a television show focusing on literature, receives videos shot on the sly that feature his family, along with disturbing drawings that are difficult to interpret. He has no idea who has made and sent him the videos. Progressively, the contents of the videos become more personal, indicating that the sender has known George for a long time.
Ben Sanderson, an alcoholic Hollywood screenwriter who lost everything because of his drinking, arrives in Las Vegas to drink himself to death. There, he meets and forms an uneasy friendship and non-interference pact with prostitute Sera.