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When Nick fights, the movie is openly obnoxious; in one bit, “White Christmas” plays during an over-choreographed beat-down for full ironic effect. Director Simon West (a lot of heartless actioners) assembles stage combat with too much cutting, handheld camerawork and whip-and-crunch sounds. Oh, how stupid action scenes can get with slow-mo nose smashing and shin cracking set to techno-dance throbs.
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Thankfully, Nick doesn’t resort to violence that often. Nick’s in a second chance Vegas story. It’s only mildly glamorous, with requisite seedy crime lords, desperate hustlers, mainstay personalities, retro diners, faded signs, and second-tier casinos. Nick growls around town in an old Ford Torino; he seems like an actually smooth guy. He uses payphones, man!
Nick moves from archetype to archetype as he tries to get in and out of any situation. Normally, lack of screen time for character actors like Jason Alexander, Sofia Vargera, or Stanley Tucci might be a problem, but Wild Card leans on their strong presences in such a way that it’s not problematic. They all say or do something quick, even funny, and then on to the next scene and/or person. And it all works with Nick dolling out good lines, keeping cool. His charisma and addictions ring true. Of course, it’s all very cliché (a Ray Charles song during a gambling montage – how bold), but at least everything’s got some color to it. That probably has a lot do with William Goldman more than anything. It’s his first produced, official script in 12 years (some failed projects like Shazam! over here, some uncredited doctoring for Zombieland over there).
Goldman is easily considered one of the best screenwriters of all time (somewhere next to Ernest Lehman for durability), and his style is present, thank Gamblor. Not even Jason Statham, or Simon freaking-Quentin-Tarantino-makes-fun-of-him West, could torpedo Goldman’s voice.
The unique Goldman situations carry the film. Every scene has the slightest twist or surprise. Plus, the snappy word choices and attitude are there, his non-conventionally delightful way of speaking. You know, the smart-ass remarks of William Goldman. Take Nick’s interaction with a kind waitress, setting up his entire deal and ethos within three snazzy lines.
