House of Games is a wonderful movie at multiple levels. It is a fine mystery and a shocking thriller. It is blessed with marvelous performances by Lindsay Crouse and Joe Montegna, and a strong, strong cast of supporting players, and it introduces Ricky Jay, card sharp extraordinaire, prestidigitator and historian of magic. Its dialogue, written by David Mamet, is spoken as if in a play of manners and gives the movie (in which reality is often in question) an extra dimension of unrealness.
On the face of it, House of Games is a convincing glimpse into the unknown world of cheats and con men, diametrically different from The Sting, which was played merely for glamour and yuks. At this level it does succeed admirably.
However, you cannot escape the examination at a deeper level of the odyssey of a woman from complacent professional competence to incredible strength and self realization. The only movie I know of which treats the theme of emergence of personal strength in a woman in as worthy a way is the underrated Private Benjamin. That thoroughly enjoyable movie unfortunately diffuses its focus, hopping among several themes and exploiting the fine performance of Goldie Hawn to chase after some easy laughs. House of Games sticks to its business. As Poe once said of a good short story, it drives relentlessly to its conclusion.
There is another strain of movies-about-women, epitomized by Thelma and Louise, a big budget commercial money maker with the despicable theme that women are doomed, whether or not they realize their inner strengths. What tripe.
As usual you really ought to see this film in a movie theater. It should be a natural for film festivals. Nominate it for one near you if you get the chance.
I bought the original version of House of Games and gave it to my 23 year old daughter. Better she should see it on a TV than not at all.

I ended up watching The Tenants with my close friends who rented the movie solely based on Snoop Dogg's appearance (a passionate fetish of theirs) on the cover. Understandably, I did not expect much. I thought the movie would include the typical array of Snoop Dogg related behavior and imagery often seen in cliché rap videos. However, my generalization was for the most part wrong. Unfortunately, this didn't make the movie any better.
Most would describe the movie as a dark serious drama, whereas I would describe it as a dark seriously drawn out boring drama flick. The film tells a story of two struggling writers (Dylan McDermott and Snoop Dogg) who are trying to create their own separate masterpieces. Their polar opposite lifestyles end up forming an unlikely but highly complex and neurotic friendship. This friendship moves throughout the entire movie like a wild roller-coaster - most of which is contributed by Snoop's character - reminiscent of someone with a severe case of split personality disorder. And although the movie is a drama, the acting - which has a morbid and serious tone - from Snoop and company was more comical than anything else.
I wouldn't recommend this movie for those who are attention impaired because this one has a lot of dialogue and a lot more dialogue after that. There are some mediocre conflicts, but even they are mostly bogged down with more dialogue. The end, however, jumped at me with a sudden surprise. It was a little bit twisted, somewhat unexpected and a perfect way to wrap up a movie that needed to end. While watching the ending credits I couldn't help but picture the director thinking, "Oh God, how the hell do I end this snoozer." By the way, the director laid out carefully planted hints and subtleties leading to the climax - all of which are more visible than Waldo in a crowded street of midgets wearing nothing but black sweaters.