Nicholas Van Orton is a very wealthy San Francisco banker, but he is an absolute loner, even spending his birthday alone. In the year of his 48th birthday (the age his father committed suicide) his brother Conrad, who has gone long ago and surrendered to addictions of all kinds, suddenly returns and gives Nicholas a card giving him entry to unusual entertainment provided by something called Consumer Recreation Services (CRS). Giving up to curiosity, Nicholas visits CRS and all kinds of weird and bad things start to happen to him. —IMDb
David Leo Fincher (born August 28, 1962) is an American music video and film director known for his dark and stylish portraits of the human experience, particularly Fight Club (film) and Se7en.
Born in Denver, Colorado, Fincher was raised in Marin County, California. He moved to Ashland, Oregon in his teens where he graduated from Ashland High School.
Inspired by Butch Cassidy and the Sundance Kid, Fincher began making movies at age eight with an 8 mm camera. Filmmaking seemed the perfect outlet for a kid who could spend all day drawing and loved to make sculptures, take pictures and tape-record. Fincher eschewed the film school route, getting a job loading cameras and doing other hands-on work for John Korty’s Korty Films. He next got a job at Industrial Light and Magic in 1980 with his first screen credit being for Return of the Jedi, and stayed until 1984. He left ILM to direct a dark commercial for the American Cancer Society, a grim hint of things to come, showing… read more
The Game is a viewing paradox for me. Like the game in the movie itself I'm envious of anyone getting to see it for the first time. Unfortunately Fincher does such a great job of building tension that nothing could've satisfied the hunger he created in me by the end the first time I saw it. Only after many years, repeat viewings and knowing the end do I get it. The Game isn't as great as I recall but its still great.
Secondo me il peggior film di Fincher. Non solo è prevedibile sin dal primo minuto ma dura talmente tanto che si passano le due ore ad aspettare che finalmente l'intrigo si sbrogli nel modo che ci si aspetta. Cosa che puntualmente avviene. Quel finale, poi, è una presa in giro. ** e 1/2
Howard Shore’s vulnerable opening cue for David Fincher’s The Game lays a groundwork of compassion beneath an unsympathetic protagonist.
Some kind of surrealist-absurdist near masterpiece, with roots in Beckett’s Waiting for Godot, Resnais’ Last Year at Marienbad, Artaud’s Theater of Cruelty and Hitchcock’s… read review