Let the Game Begin

Let the Game Begin

Successful entrepreneur Max learns that the woman he married has always really been interested more in his money than in being his wife. After his cousin Ricky gets burned by a gold-digger himself, Ricky introduces Max to the world of the pickup artist, hoping to give Max confidence and the tools to find a woman who likes him for who he is.

Tripp is an average frustrated chump, who comes up with a golden idea. He partners with Gary, a Wall Street wheeler and dealer, and brings his cousin, Rowan, on-board to help with his ... . You can read more in Google, Youtube, Wiki

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Let the Game Begin torrent reviews

Tyler P (fr) wrote: Coppola signe un putain de beau film. On frle le chef d'oeuvre. Sublime.

Marco F (jp) wrote: This low-budget schlock is the brain child of Mark Borchardt, the aspiring filmmaker who, along with his efforts to get this movie made was the subject of the fantastic documentary AMERICAN MOVIE. That was a great film- COVEN, however, is amateurish, horribly written, horribly directed and barely even acted. Even the cinematography is awful- but what is interesting is that Milwaukee suburb this film was made in looks as lifeless and dead as it did in AMERICAN MOVIE.

Cameron J (gb) wrote: Yeah, just in case "The Man Who Wasn't There" was a little too surprisingly serious for you Coen brothers fans out there, Joel and Ethan decided to go all-out with a palette cleanser and follow that with an all-out romantic-comedy, of all things. ...Well, it's a black comedy, and the Coens' black comedies are usually the ones with the most murder and intrigue, but no, this film isn't that exciting, and yet, it's still a little more exciting than "The Man Who Wasn't There". Now, that's not to say that I like this nearly as much as "The Man Who Wasn't There", but it's hard to get bored when George Clooney is charming up the joint, while Catherine Zeta-Jones evidently shops at clothes stores whose shirts and blouses never feature necks, and Cedric the Entertainer shows up somewhere along the way. Cedric must have misunderstood what people meant when they said that the Coens were working on a new "black" comedy, because I don't know how he ended up working with the Coen brothers, although the Coens do seem to be trying a little too hard to be mainstream with this film. Some must be disappointed to find the Coens conforming to Hollywood conventions, and I'd imagine every one of those people neglected to check the gross revenues of this rom-com and the gritty period noir "The Man Who Wasn't There" and see which one made a little over $101,000,000 more. Even the Coens got to make some money, my friends, but hey, if they're going to, they may as well make a decent film along the way... or get Catherine Zeta-Jones to wear a bunch of shirts and blouses that don't have necks. Well, sure enough, the Coens succeed in making some pretty fun fluff, in spite of some slow spells. The Coens are no strangers to slow storytelling (*cough*"Blood*cough*Sim*cough*ple*cough*ton"*cough*), but their dry spells typically derive from a thoughtfulness that certainly doesn't have a place in this type of effort, so there's no excuse for occasions that, while far from tedious, drag their feet in scripting, and are made all the more distancing by quiet atmospheric cold spells. Of course, more often than it hits slow spells, the film gets to be frantic, not so much in its pace, but in dialogue that has a tendency to take on that classic Coen snap at its most exhaustingly busy, resulting in some seriously obnoxious set pieces that isn't helped by characters who are obnoxious to begin with. I criticize the dialogue for getting frantic, but there are, in fact, some points in which structural pace is picked up a little bit, to the detriment of, if nothing else, exposition, for although there shouldn't be much depth to this particular Coen comedy, like, at all, the characters are thin, with unlikable aspects that are hard to embrace in the context of a narrative that is hard enough to embrace by its own right. The plot is utterly improbable in more than a few ways, and I reckon that's intentional, yet moments in which the Coens go well beyond the top make it more difficult to deny the cheesiness of this hopelessly mainstream dark comedy that would be worth embracing if it wasn't also derivative. They've hit their formulaic occasions, but the Coens, more than that, have surprised, if not innovated time and again with storytelling, yet here, the only surprise is that there's hardly anything new to this lazily mainstream narrative, as if the Coens ultimately chose to give up on fleshing out this story concept as a film of greater quality. "The Big Lebowski" and "O Brother, Where Art Thou?" rank among the Coens' most conceptually inconsequential opuses, yet they somehow ended up also up their among the filmmakers' best, the Coens placed so much inspiration into crafting strong films through all of the fluff, which, in this case, triumphs intensely, with a frantic, improbable cheesiness that renders the final product not simply underwhelming, but barely memorable. Of course, there are indeed traits in this film that are reasonably worth remembering, as they craft a generally fun affair that even comes with a hint of artistic integrity. The Coens recruit recurring collaborators Carter Burwell and Roger Deakins, who have delivered time and again on unique and inspired score work and cinematography, and are, of course, held back from really fleshing out their artistic vision for this film, which still has highlights in which Burwell delivers on colorful, classically-charged scoring, while Deakins delivers on clean, sometimes memorably distinguished cinematography. Style is limited, but it stands, and the Coens make sure that you don't forget that, because even though their direction is a little flimsy, as well as particularly under-inspired to begin with, they keep momentum generally smooth, with an energetic sense of color that is even sharper in the Coens' less unevenly structured writing. With that said, Joel and Ethan Coen get to be mighty messy even with their scripting, but if there is any kind of razor-sharp wit to this overly mainstream affair, it is found within the Coens' snappy, if a little busy dialogue and audaciously, if not shamelessly over-the-top comic set pieces. There plenty of fun notes to the Coens' script, and they do justice to a certain fun factor to subject matter that, no matter how improbable, formulaic and altogether near-cloyingly mainstream, has plenty of fluffy value that is kept adequately lively by highlights in the Coens' storytelling, but truly anchored by a cast that is perhaps more respectable than it ought to be for a film of its time. You know that it was Coens' name that made a cast this solid come calling, but now that it's here, each member, despite being unevenly used, charms, whether it be Billy Bob Thornton as the charismatic and fast-talking southwestern man of business, or Edward Herrmann as an awkwardly anxious man who cannot afford a divorce, or Cedric the Entertainer as a delightfully smooth and proud private investigator, or Paul Adelstein as the near-adorable right-hand to George Clooney's hardened role. Speaking of Clooney, it is he and the stunning Catherine Zeta-Jones who really deliver, for although the leads' roles are written with their share of unlikable traits, their individual portrayers consistently endear with an effectively snaky charisma that is punctuated by some sympathetic layers, and bonded through a rocky chemistry which makes the leads' relationship something of a treat to watch as it twists and turns. The film is a mess at the end of the day, but for what it is, it charms thoroughly throughout its course, thanks to lively performances on and off the screen that make a fun, if somewhat flat fluff piece. When the suffering is finished, slow spells find themselves broken up by obnoxiously frantic points which join thin characterization, improbability and genericism in reflecting a fluffy thinness that renders the final product, underwhelming, if not forgettable, in spite of the striking scoring and cinematographic highlights, lively direction, colorful writing, and thoroughly charismatic cast - from which George Clooney and Catherine Zeta-Jones stand out, partly with their effective chemistry - that make "Intolerable Cruelty" a generally fun hyper-mainstream, if under-inspired Coen brothers endeavor. 2.5/5 - Fair

Jill R (de) wrote: An electrifying movie that is chilling gory and viloent a movie that is creepy and hard to forget a total great movie it's just hard to watch and phenomenal Grade A+

Geoff W (es) wrote: Mildly amusing. Hell I bought it out of the $5 bin and Wall-Fart. It kept me busy 93 minutes.

Jason H (gb) wrote: One of the silliest funny movies of all time. love it. "you're all doomed."

Allan C (it) wrote: Smart and darkly comic film that explores British working-class frustrations with a story that is kind of a darker version of "The Secret Life of Walter Mitty". John Schlesinger directed the film and Tom Courtenay is the working-class stiff trapped in a dull reality that can't match his ambitions. It's a smart and sharply witty film, but the thing that really stood out for me was Julie Christie. She's only in the film for a short time, but she is so beautiful and charming, it's not at all hard to see how this film launched her career.

Jake C (nl) wrote: Ridley Scott dazzles with the best piece of science-fiction ever mastered on screen in a dystopian setting, but also producing the best cult classic of all time with great performances from Harrison Ford, Sean Young and Rutger Hauer.

Michael A (br) wrote: Solid retelling of the Shakespeare classic.

Pia K (jp) wrote: Jaksoin katsoa toistamiseen, ihanaa hmpp... *:) (Suom. Unelmien Manhattan)