Casino Jack

The most awful thing about Casino Jack is knowing it is true, knowing all the good people being fleeced, taken for a ride, are real, knowing that the central theme of this story is alive, kicking and fuelled for take-off even now.

As a dramatisation it works because we do not have to dwell on the complexity of the deals being set up, who is ripping off who, who is the biggest liar. The film's smart pace allows us to soak up the facts like ink on blotting paper and at our own pace.

Thankfully we can lose ourselves in the characters, all of whom are played to perfection by a very strong cast, and all of whom resonate to the people we see and hear about on TV, in the media, even in show business. These are the folk who have more money than sense, or, more accurately, more credit and no shame if they can get away with making huge profits immorally. Less appealing are the players in real life who really are being torn apart through their desperation for attention, for expressions of interest, where any interest may be better than nothing. In this area we are left to feel morally lacking for not doing more to stop this kind of stuff. But the story simply keeps rolling along and we witness the demise of the main characters Abramoff (Spacey) and Scanlon (Pepper) just as it happened in real life.

The opening of the movie sets the scene well into the plot where much of the twisting and double crossing has already begun to unravel. Then we are witness to the events as they unfold through the deals, the double crosses, and the nasty side of greed (is there a nice side?). As the credits roll we also see a couple of the real life events depicted in the movie played back to us, to allow us to judge authenticity. I wonder if this was the only mistake the film makes. I felt the film spoke for itself.

As distressing and disturbing as the film's subject should be it is played out in such a way as we are information and knowledge gathering much like a media warning about "this is what lobbying really is". It is also a shrewd warning as to how shameless and immoral some people are when they are saying nice things to you, as if we needed a warning! I found it worthwhile to research the subject of lobbying a little more after I had seen this film and found myself disbelieving some of the things I have found out. This alone convinced me the film does not pull any punches.

Watch it just to wise up. Fortunately it is acted so powerfully and so sharply you will not want to look away.

Both gobsmakingingly awesome in its (true) take on Washington and just way OTT look at the Beltway, CJ is just so good. Honestly, if this had been made as fiction you'd shoot it down as implausible - the stink goes how high? - but here we see lobbyist and senators in cahoots to get the dollar in their pocket at the expense of just about every body else.

Spacey is in fine form, with a sterling support cast, and the film is best viewed as a buckle up and grin fair ride to the underbelly of politics - it really is so way beyond your standard black comedy or satire that it's just jaw dropping.

We enjoyed CJ - it doesn't aim to be a political thriller or have any great message but it is a lot of black comedy and seriously messed-up situations from beginning to end.....

Have fun now.....

I confess to having followed Jack Abramoff's actual denouement years ago only as much as I could tolerate without gagging. My feelings toward lobbyists are mostly of disgust anyway. But to separate this work of art from the morality of its subject matter, I must say that this is a fine, fine film. Mr. Hickenlooper's death is a profound loss to all of us. I find Kevin Spacey and Barry Pepper at the top of their form here. The character and the situation give Spacey a broad stage to display his talents and range. Abramoff is no easy character to portray with any sympathy at all, and I had virtually none, but my outrage over the facts didn't spoil my enjoyment of the entertainment one bit. A tribute to all involved.

As far as the abuses portrayed, all I can say is, I really hope the American citizenry somehow wakes up and unites to end the stranglehold that cash has put on our democracy. The utter hypocrisy and self-serving, greedy behavior of our politicians is harming us for generations to come. If they truly love their country, they must reject and expose lobbyists sacrificing our national welfare to Mammon.

Kevin Spacey is truly an actor to adore. The Two-Time Academy-Award Winner has proved his talent time and again. In 'Casino Jack', he gets even better and delivers a superb performance.

'Casino Jack' is based on Jack Abramoff. Abramoff, is one of the most notorious lobbyist's ever. 'Casino Jack', however focuses, on the time when Abramoff & his protégé went down hard...as their schemes to peddle influence lead to corruption and a brutal murder.

Director George Hickenlooper does a good job, while Norman Snider's writing is flawed. The writing in the first hour is spot-on, but in the second hour, it falters. Even the culmination for that matter, doesn't leave the desired impact. Acting wise, as told, Spacey owns the film. He plays Abramoff superbly. He truly is an Icon! Barry Pepper is Excellent.

On the whole, 'Casino Jack' can be viewed once, for it's lead star's performance. Must for Spacey Fans!

2010 seems to be the year that Hollywood universally decided to take its look at one of the great government scandals this past decade, producing both the documentary Casino Jack and the United States of Money, and this accompanying (albeit more fictionalized) account of disgraced lobbyist Jack Abramoff. After seemingly searching for a juicy role since his duel Oscar winning performances in the mid to late '90s with The Usual Suspects and American Beauty, Kevin Spacey is back in fine form and dominates the screen in this frequently enjoyable, though heavily flawed, rise and fall fable.

Oddly, what makes this movie great also represents its largest shortcomings. The acting is as varied as Abramoff's excuses pertaining to the generous "donations" he receives in the film itself. Barry Pepper as Jack's right-hand man Michael steals scenes at a whim when given the chance and could have easily elevated the film further if given more screen time. Spacey is superb bringing a delicious blend of pompous charm and sleazy anger to the role, and even manages to deliver both a credible Sylvester Stallone and Al Pacino impression amidst the political turmoil his character eventually encounters.

On the other hand, there are some disastrously misguided casting choices, beginning with Kelly Preston as Jack's wife and even though she exhibits some swagger towards the beginning to the film, she is unable to keep up with more skilled thespians as situations escalate towards the finale. The most egregious error is most certainly the inclusion of Jon Lovitz as the owner of a cruise line and casino who undertakes business dealings with Abramoff. Lovitz has proved himself a skilled comedian in supporting roles and did consistently great voice work on The Simpsons. Here, he is an unmitigated disaster, single handily sinking the picture on multiple occasions. He seems oblivious as to when to calm down, his camera mugging and inflections are grinding, and he is apparently unable to quit being Jon Lovitz and simply shut up; this is simply a poor choice by late director George Hickenlooper.

The story at play is a fascinating one, and seeing Jack at his manipulative best even as his world comes crashing down is engrossing. The middle portion however does its bookend acts an injustice, sagging down the segments exploring the infamous lobbyist rise and his inevitable fall. Hickenlooper seems unable to decide how to structure the transition; not how Spacey handles the material pertaining to his character's downfall, but rather the jumble of events by which it is precipitated. Though the event itself makes for inspired reading in venues such as the news or a fact-based doc, perhaps there is not enough substantial material (or maybe too much) to make a fully compelling fictionalized account.

Though ultimately less than the sum of its parts, Casino Jack is timely, passionately constructed and true to its source events. Abramoff is successfully made into the three-dimensional character that those close to him likely knew, and that the media was never able to (or more likely never wanted to) capture. Spacey is without a doubt a large part of this indelibly fiery characterization and strangely (obviously for reasons we will never know) seems more invested in this character than he has in any during the last ten years. Casino Jack's follies are all the more disappointingly glaring considering how strong the hard-hitting portions were, and though better than the average fact-based account, good enough is never good enough when greatness seems to be within reach.