This had potential, but and despite Rupert Wyatt's stylish direction which grips during the gambling scenes, it cannot make up for William Monahan's (The Departed) poorly paced and overwritten metaphorcial script, in which Mark Wahlberg finds himself out of his depth - Shakespeare he isn't.
Having never seen it and for comparison purposes, I'll be check out Karl Reisz's (1975) original soon.
Some well-staged battle scenes and a fleetingly gripping story, which at times you'd be forgiven for thinking you were watch a propaganda piece for the senseless NRA - do not make it a return to form for director, Eastwood.
It's averagely acted by Cooper, who for the life of me cannot understand why he's been nominated for the Best Actor Oscar.
Aided by a taut script, Bennett Miller has pulled out the bag here a flawlessly directed and utterly compelling psychological tale of class, obsession and power. It slow-burns and makes your skin-crawl with a quiet intensity. Messrs Carrell, Tatum and Ruffalo mesmerize.
Expect Oscars nods, come February 22nd.
Whilst it faced near-on impossible odds, and didn't live up to the heavenly heights of 'The Dark Knight' (for me this is Nolan's Pièce de résistance), Christopher Nolan, does weave his visionary masterclass of filmmaking and storytelling to bring his near perfect Batman trilogy to an epically satisfying and engrossing conclusion - with this unpredictable, twisting and brooding biblical brute of a touching drama-spectacle. It's also solidly acted throughout from its ensemble.