| STX Entertainment | Release Date: December 25, 2017 | CRITIC SCORE DISTRIBUTION | ||
|
Positive:
35
Mixed:
10
Negative:
1
|
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Critic Reviews
At 140 minutes, this movie qualifies as something of an endurance test.... But as endurance tests go, Molly's Game is also an incorrigible, unapologetic blast — a dazzling rise-and-fall biopic that races forward, backward and sideways, propelled by long, windy gusts of grade-A Sorkinese.
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Molly’s Game is a successful crime drama, but it’s also a film that acknowledges the presence of both good and bad luck in the pursuit of excellence. Most importantly, it allows failure to exist as a living and breathing entity, rather than a tragic ending or a fate simply suffered by the morally impure. And that is what you might call exceptional.
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Compared to a really great poker game, sometimes “Molly’s” comes up a little short. It definitely keeps you too long at the table. And there are times — like every Sorkin script — where it won’t stop talking. Really, buddy, shut up and deal...But when the chips are down, its stars come through. And in the end, we all walk away winners.
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When Sorkin does go off on side episodes, they’re for the greater good. Molly’s dealings with a nihilistic and smarmy A-list movie star (Michael Cera), a gambler (Bill Camp) who loses his cool, and the drunk Irishman (Chris O‘Dowd) responsible for pulling the Russian mafia into her games actually boost the overall narrative rather than cannibalize it.
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Swift, stylish, tough-minded and sharp-tongued, this engaging fact-based drama, about a young woman who at one point ran the richest poker game in the world, is worth recommending if only to see its star, Jessica Chastain, at the top of her nerviest, most icily self-controlled game.
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The TelegraphJan 4, 2018
It is hard not to wonder how this movie might have turned out if Mr. Sorkin had decided his protagonist was as much a weasel as the one he wrote for “The Social Network,” another story of an American striver. It’s hard not to wonder, too, how this story might play if its protagonist wasn’t a woman who, as this movie sees it, needed so much male defending.
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No one knew Mr. Sorkin was a good director, but he is, and his filmmaking chops come topped with intelligence and curiosity. That makes it all the more remarkable, and I don’t mean good remarkable, when the film takes a last-reel turn into slushy psycho-sappiness, enlisting someone we thought we’d seen the last of to explain what the story was really about.
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