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Night Shyamalan was, and is, an arresting visual storyteller. Had it been released ten years later, its gross likely would have been triple. One could argue it was the catalyst for the renewed interest in the classic game. However, it became to every frat house poker player what Wall Street is to brokers and Glengarry Glen Ross is to salespeople: required viewing. The film was merely satisfactory to critics, theater audiences, and the box office.
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Damon’s Mike McDermott dreams of being at the World Series of Poker in Las Vegas, a full six years before the game itself was popular enough to be bought by Caesars Entertainment and turned into a celebrity-studded event. Along the way they encounter loan sharks, hustlers, businessmen, mobsters, bosses, judges, and of course, rounders: the industry term for someone who makes a living playing poker. It stars Matt Damon and Edward Norton as two smalltime players, bouncing between boroughs searching for an easy buck - bars, diners, coffee shops, cigar clubs, and casinos, both famous and underground.
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More than a movie about card players, Rounders exposed the underworld gambling scene in New York.
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That was around the time Brian Koppelman and David Levien, best known now for the TV show Billions, decided to make a movie about gamers, only cool. James Bond still played baccarat, Dungeons & Dragons was exclusively for nerds, and young men around the country were using their dot matrix printers to show a copy of Matt Damon’s haircut to their barbers. 6 American viewing public would have been just the crowd to eat it up. Just one more reason that, were the film have been made today (while still somehow retaining that guilty pleasure Verhoeven charm), it might have performed better with a more racially diverse cast. Hearing sentient chin Casper Van Dien as Rico chatting with Denise Richards’ Carmen speak in their perfect American accents is a bit of cognitive dissonance for anyone who’s ever traveled, say, outside of Beverly Hills. The main character in the book is a cultural Filipino raised in Buenos Aires named Rico. The film’s biggest flaw is its tone-deaf racial casting. There’s even commercials touting the accomplishments of the Federation that have all the subtlety of a Nazi propaganda poster.
Verhoeven grew up in The Hague, Netherlands, during World War II, and it’s easy to draw a line from fascist Germany's media manipulation to the so-on-the-nose-it’s-difficult-to-tell satire of the film. It’s also a poignant, self-effacing commentary on a future where the jingoistic Terran Federation (Earth’s human government) are the galactic hegemon, where military service is compulsory for citizenship and the enemy is sub-human. On the surface, it’s a meat market melodrama of teen relationships gone sour and dated 90s visual effects, which were no doubt a huge drain on the budget.
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Hammy, over the top, and dripping with gore, Paul Verhoeven’s adaptation of acclaimed sci-fi author Robert Heinlein’s Starship Troopers still holds a measly fifty-two among professional reviews on Metacritic. In his review for Entertainment Weekly, Peter Kobel laid out Ferrara’s dilemma: What went wrong? The admittedly grotesque and horrifying take on the violence, both by cops and criminals in the film, was initially so offensive to audiences that it was booed at the New York Film Festival. The film also features early, star-making turns from Wesley Snipes, Giancarlo Esposito, and David Caruso. Only one year later, his turn as Cuba Gooding Jr.’s straight and narrow father in Boyz N the Hood would showcase the kind of range between good and evil as Ben Kingsley did in Gandhi and Sexy Beast, but in a fraction of the time. The cast prominently features Laurence Fishburne as a delightfully scenery-chewing psycho Jimmy Jump, who is as convincingly lethal holding a paper cup of root beer as when he is murdering people. Walken’s portrayal of the ice-cold, ambitious White so moved rapper Biggie Smalls that he referenced the character in the lyrics of his song The What, and even adopted the moniker “The Black Frank White.”
Abel Ferrara’s King of New York is about Frank White, played by Christopher Walken, who is released from prison at the beginning of the film and sets in motion his vision for taking over the criminal underworld in New York City.
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