3 (out of 4)
With his directorial debut after decades of scripting, Aaron Sorkin has proven at least one thing: he’s still a damn good screenwriter.
I only tease, for the direction behind Molly’s Game would be worth praising more if it felt like Sorkin had some manner of stylistic stamp. After first coming off like a weak Scorsese imitator, he soon lets his feverish pace of verbal information subside to eventually let the story speak for itself. Which is fortunate because the tale of Molly Bloom, like life, is full of pauses, detours and confusion that requires a wordsmith of some capacity to navigate.
Within this true tale lies subject matter much to Sorkin’s liking, particularly political and legal intricacies and a recent bit of biographical intrigue too fascinating to pass up. The dual narrative between the crazy story and the messy, affluent aftermath doesn’t succeed quite as dazzlingly as The Social Network, but it functions perfectly for this film's editing, pacing and comic timing.
Jessica Chastain’s clocks in a career best performance as Bloom – her perfectly dictated narration is almost good enough to forgive Sorkin's heavy reliance on it. Idris Elba is rock solid as Bloom’s patient, straight edge lawyer Charlie Jaffey and Kevin Costner even appears faintly human in his small supporting role as Bloom’s hardheaded father. Stars like Leonardo DiCaprio and Ben Affleck attended Bloom's actual games, and our basic stand-in for their undisclosed type is Michael Cera in a fitting role against type for an actor out of roles for his former awkward teen schtick. My guess is he supposed to closely represent Macaulay Culkin.
Anchored by a knotty, complex story, Sorkin churns out his signature soliloquies and table tennis back and forths with ease. Another director may have realized Molly Bloom's stranger than fiction story more fully, but Sorkin has the adeptness to make a film informed by editing, cinematography and the like as much as his strong suit of obsessively crafted dialogue.
To keep it brief...