Gambit

Art heist comedy.

An art curator (Colin Firth) in London devises a way to rob his wealthy art collector boss (Alan Rickman) with the help of a rodeo champion from Texas (Cameron Diaz).

It's a remake of an old Michael Caine film I remember really liking because you see the heist plan smoothly imagined and then you get the somewhat different reality. In this version the imagined plan is brief and sadly does not firm a key component of the movie.

Overall, the film is just okay, mildly amusing with a mediocre plot, but not that memorable. Rickman and Firth are entertaining though.

Other reviewers have noted that "Gambit" isn't a film that draws out lots of laughter. Rather, it has witty lines and very clever scenes that are quite funny; with an occasional goofy bit that is just too funny not to laugh at. It's a bit of a combination of sophisticated (witty dialog) and goofy (silly scenes), which makes for a quirky comedy overall.

This isn't a large production film, but it has quite a cast of actors with diverse characters. They all seem to meld together well (or not so, as the script intends). Colin Firth and Cameron Diaz are very good as the leads. But, the supporting cast and bit performances have some of the funniest lines. Alan Rickman is riotously funny. I have to laugh in the scenes where he wears a disapproving expression of "what's Deane doing now." Rickman is one of those actors whose wonderful humor drives home by his frowns and other facial expressions. When a line comes with the look, it's most often over the top hilarious.

This is a wonderful funny film fiasco. I think an opening scene sets the stage for viewers to know they are in for an enjoyable and entertaining film. Colin Firth (Harry Deane) and Tom Courtenay (The Major) are on an errand from England, have landed in the U.S. and drive up to a gas and shop station somewhere in New Mexico rodeo country. They go inside where Joe Berryman is the gas station cashier.

Deane says, "Excuse me. We were given to understand that there was an equestrian tourney in this area." The cashier says, "Well, we got a law attorney. Don't know his religion. Up downtown Alpine. He's a fairy. Moved here from Albuquerque. It'll be five, no six years ago come May. Not that I judge."

I'm not sure why it got so many low ratings. It's one of those movies I've passed over many times, despite my love for Colin Firth, because reviews were so low. Finally, Redbox sold out of anything better, I gave it a try and now I'm so glad I did.

If you're looking for Oceans 11 or The Italian Job type intricacies in the plot, it isn't going to happen. However, it's still cute and interesting with enough of a twist to be worth it. Where this show really shines is in the hilarious writing - the insults and comments are really really funny - and in the acting abilities of Colin Firth and Alan Rickman. Both do tremendous jobs. Colin Firth can take impossibly stupid situations, the kind Steve Martin and Ben Stiller do, situations almost painful in how absurd and moronic they are, and yet he makes them hilarious. A guy on a hotel ledge several stories up, no pants, is old old old, but Colin Firth makes it remarkably entertaining, as if this is the first time you've ever seen that scenario in a movie. Alan Rickman plays a SOB like no one else and he's the total jerk you love anyway (think his Sheriff of Nottingham role) because he's just so good at it and his muttered comments and blatant insults keep you busting out in laughs. I got to the point I was jotting down some of the lines in the show, and thinking I may need to go back to the beginning to write down others, because they're absurd, clever, and all-together brilliant.

If you need lots of intricate plot twists and details - maybe not for you. If you enjoy understated yet remarkably hilarious verbal humor, witty comeback, diverting insult and repartee, ridiculous colloquialisms and a few side-splitting guffaws, this is the show for you.

I was prepared to like this film as I'd seen the original Gambit. This film however, had a completely different story line. Colin Firth does his best with it and there are a couple of smiley moments, especially when he loses his trousers climbing round a hotel ledge but it is not enough. The film is very short, and when it ends you wonder what possessed the Coen Brothers to make it. Cameron Diaz is extremely irritating and the character goes nowhere. Tom Courtenay was wasted in his role and some of the so called funny situations are too contrived ie when they book into the London hotel. The twists in the tale aren't twists at all, just cop outs. It just seems a pointless film and is not clever or funny enough. Colin Firth is a brilliant actor but sometimes his lightweight film choices are very strange. A disappointment.

Colin Firth obviously wanted a less taxing role after stammering as King George VI. In this remake of a Sixties Michael Caine comic 'caper' he plays a disgruntled art dealer who decides to trick his unpleasant billionaire boss into buying a fake Monet. Shirley MacLaine's Hong Kong dancer roped in as co-conspirator and candy-floss in the 1966 version has became a Texas rodeo queen - Cameron Diaz doing her best with a one-dimensional part.

Alan Rickman does an appropriately pantomime turn as the monstrously egotistical tycoon and gets some of the movie's most embarrassing scenes, but he seems to be having fun. Colin Firth makes a visible effort to enjoy losing his pants on a ledge outside the Savoy Hotel, but the role would have perhaps been easier for Hugh Grant. Stanley Tucci plays a German art expert who may (or may not) be inspired by Albert Schweitzer. The London scenes are livelier than the scenes at Rickman's Downtonesque country house, though a farting dowager moment targets a younger audience than this is likely to pull in.

This piece of fluff comes from the Coen brothers who usually apply themselves to something zanier and zingier. If they wanted to revamp a comedy heist movie, why didn't they take on Peter Ustinov's all-star Istanbul romp TOPKAPI (1964) or, if they wanted to keep the budget down, Warren Beatty's KALEIDOSCOPE, also from 1966, which had more pace and plot than the original GAMBIT but not such deft performances? It's really only the actors who raise this year's GAMBIT from being potentially dire into something that is merely mediocre.