Gambling movies, like submarine movies, generally don’t have too many variables. At some point in just about every sub movie, the submarine gets torpedoed and/or sinks to “crush depth,” and the captain and crew either get killed or, more often, survive. Likewise, in cards and billiards movies (not to mention sports films in general, of which gambling flicks are a boozier subset), the plot typically comes down to: in the big, climactic competition, does your rooting interest win or lose? And in most stories, the outcome, while faux suspenseful, is usually pretty easy to predict.
So it’s one of the strengths of indie staple Chris Eigeman’s writing and directing debut Turn the River, about Famke Janssen’s desperate, homeless, pool-hustling card sharp, that not only is the outcome of her particular “big game,” when it comes, anything but a foregone conclusion, but also that her ultimate success or failure in the contest is only one element in a suspenseful skein of fateful plot developments.
Eigeman, best known for mordant, fast-talking characters in films like Kicking & Screaming, Mr. Jealousy, the short-lived West Coast Seinfeld knock-off It’s Like, You Know and the Whit Stillman trilogy (Metropolitan, Barcelona & The Last Days of Disco), does a good job capturing both the quiet hostility of upper class dysfunction and the bare-knuckle grit of back-room cash games in this tightly-controlled, low-budget indie about a mother (Janssen) struggling to raise the money necessary to kidnap her son (Jaymie Dornan) over the border to Canada, away from his abusive yuppie father (Matt Ross, the scary polygamist Alby on Big Love).
Janssen goes “all in” (get it?) with her portrayal of the mother, Kailey, an older, sadder variant of the shady poker pro she portrayed in Rounders. Despite stringy hair and a drab wardrobe, the actress’ supermodel looks clash a bit with River's seedy milieu, but the character’s she-wolf intensity is nevertheless compelling.
According to Eigman, his star went to billiards boot camp before shooting began, and managed to nail one crucial, difficult bank shot in the movie on her very first try (scoring a nice payday for some lucky P.A. in the on-set betting pool who correctly predicted she’d manage the feat in one take). Janssen’s unfaked ease with a cue stick lends credence to the storyline, as does her palpable chemistry with Dornan, utterly believable as a smart, resourceful kid with none of the usual cloying Hollywood precociousness.
The rest of the supporting cast is equally fine: Ross is a hissable but multi-faceted villain, Lois Smith is a hoot as a bitch-on-wheels matriarch, John Juback is a formidable pool-hall adversary and Terry Kinney steals his scenes as a sweet, street-smart black marketeer. And for those disheartened by Rip Torn’s recent frail, half-speed performances on 30 Rock, his turn here as Janssen’s grizzly mentor, Quinn, is a gruff, vigorous return to form.
