Douglas and Fincher make a Dark, Mysterious Film

Rating: 8/10 (7 February 2014)

In a dark, dangerous San Francisco lives Nicholas Van Orten (Michael Douglas), a very rich businessman and a total loner. He doesn't come across as pathetic, but as rather as stern and cold, and blatantly unhappy despite the lap of luxury in which he lives. Sensing Nicholas' unhappiness, Nicholas' wild and über ostentatious brother Conrad (Sean Penn) appears and presents Nicholas a birthday gift, a gift that is sure to add some excitement to Nicholas life, and lift him out of the depressive fog that he carries around everywhere.
Along the way we learn some little bits of information about Nicholas' life, but not much, which is nice because his past doesn't really seem to matter anyway. Fincher takes the character and forces him to deal strictly with the present time. All past regrets, misdeeds, and sins fall away when you are literally fighting for your life.
Conrad's gift is a game. A set of real life, role-playing scenarios designed and executed by a company alleged called CRS. We don't know what CRS is, and neither does Nicholas, so when bizarre happenings start to occur, such as the nightly news anchor breaking character and speaking directly to Nicholas in his living room, Nicholas cannot tell what is really happening. Is this part of the game? Or am I hallucinating? Soon the puppet masters at CRS crank up the intensity of the events. There are numerous attempts on Nicholas' life. At one point he wakes up in Mexico after having been buried alive in an underground tomb. The occurrences are so extreme, that as an audience, we are just as confused as Nicholas. It is real? Or is it a game? It is impossible to tell, and this is what makes this film so much fun to watch.
The world that CRS tailors to its clients is very cool and well put together. Even though Nicholas is told distinctly that the CRS game will begin, and it is not until after he is told this that strange and dangerous things start to happen, we are still unsure if it's game or reality. Fincher is essentially blurring our understanding of the common philosophical conventions of cause and effect.
The Game is a good thriller, and an entertaining watch. The production value of the film is excellent. It projects on screen in dark, shadowy tones, mixed with diverse textures setting one scene to next to a another composed completely different. The film is full of interesting settings from Nicholas' mansion, to a Mexican border town, to meetings in coffee shops, to cabins in the woods, but despite the actual events taking place being very entertaining to watch, the film never really establishes what truth it is trying to convey. The ending is disappointing. We are not left with any kind of substantial meaning.
The CRS experience is meant to be a massive, over-the-top shock to the nervous system. This shock forces one, Nicholas in this case, to decide whether he wants to fight to stay alive, or let go and die. Maybe we are supposed to take the hint and choose to live now, even though we don't have CRS to break us out of our depression and lethargy, as individuals, or as a whole society. But this might be pushing the limits of interpretation. Despite the absence of the deeper themes, such as investigating the pointlessness of existence as in Fight Club, or the proving the worthlessness of humanity as in Seven, The Game is still great watch. Once the film ends, it doesn't linger for days in the front of your mind like the best thrillers, but while your watching it you'll be on the edge of your seat, never knowing what it going to happen next.
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