House of Games

David Mamet’s directorial debut, House of Games follows successful psychiatrist Margaret Ford (Lindsay Crouse) as she meets Joe Mantegna’s smooth-talking Mike and is subsequently drawn into the sketchy underworld of con artists. It’s perhaps not surprising to note that first-time filmmaker Mamet has infused House of Games with exactly the sort of irresistibly theatrical atmosphere for which he’s known, with the intricate plotting and precise dialogue certainly establishing the proceedings as an almost prototypical Mamet production right from the get-go. There’s little doubt, certainly, that the picture benefits substantially from Mamet’s exacting execution and the myriad of above-average performances, with, in terms of the latter, Mantegna delivering an electrifying turn that elevates even the most minor of sequences to something palpably engrossing and captivating. (Crouse is quite good here, too, as are such familiar periphery players as Ricky Jay, William H. Macy, and J.T. Walsh.) And although many of the twists and turns are perhaps not as surprising as Mamet has intended – the proliferation of similarly-themed fare over the years has dulled the impact of such stories – House of Games nevertheless builds to a gripping third act that does, in addition to packing a more brutal punch than one might’ve anticipated, ensure that the whole thing concludes on an exceedingly satisfying and memorable note.

***1/2 out of ****