Film

High Roller: The Stu Ungar Story

A biopic of Stu Ungar, poker's most brilliant and self-destructive virtuoso. Michael Imperioli tracks the Kid's meteoric ascent through Las Vegas casinos, his three World Series of Poker wins, and his catastrophic descent into addiction. It's a portrait of genius corroded by compulsion—less interested in card mechanics than in the particular loneliness of being the best at something that's destroying you. For anyone drawn to stories about talent and its cost.

TMDb rating3.1

Should you watch it?

Watch it if you enjoy character-driven biopics about obsessive gamblers, where the pleasure is watching one self-destructive talent up close amid the smoky, back-room texture of old-school card rooms.

Skip it if you want a slick, fast-cut sports picture; this is a talky drama that lingers on its central figure's restlessness and can feel repetitive across its two hours.

What it asks of you: Two hours at the unhurried pace of a long night, mostly talk in dim rooms, so you need to be willing to sit with one man's restlessness.

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Paul Newman and Robert Redford pull off an elaborate con. Supremely entertaining, beautifully constructed, and impossible not to root for. A masterclass in building tension through deception.

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Not sure tonight? Get a pick in a minute, starting from High Roller: The Stu Ungar Story

The wildcard

Something you would not have found on your own.

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Darren Aronofsky and Mickey Rourke together. A portrait of someone trying to matter through a dying art form, terrified of irrelevance. It's about the body as currency and the addiction to applause. The pain is physical and spiritual at once.

But It's relentlessly bleak and Rourke's performance is sometimes hard to watch. There's no redemption arc. Many find it emotionally exhausting rather than cathartic.

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More like this (8)

The Gambler1974

James Caan as a literature professor spiraling through compulsion. Reznick's screenplay cuts with surgical precision. It's about the *feeling* of gambling, not the mechanics—the way risk becomes a substitute for living.

But It's bleak and claustrophobic. The protagonist doesn't learn. Some find the nihilism punishing rather than clarifying.

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Scarface1983

Al Pacino as Tony Montana, cocaine's king of Miami. De Palma's operatic violence and excess. The rise-and-fall machinery is turbocharged and unforgettable. A document of ambition's annihilation.

But It's brutal, loud, and often interpreted as glorifying what it depicts. The 1980s aesthetic hasn't aged gracefully for everyone.

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Requiem for a Dream2000

Aronofsky's symphony of addiction in four lives. The formal invention is staggering—the editing, the music, the visual repetition that mirrors compulsion itself. Devastating and important.

But It's deliberately punishing. The final hour is one of cinema's cruelest experiences. Not entertainment; ordeal.

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The Hustler1961

Paul Newman as Fast Eddie Felson, the original pool shark. Rossen's film is moody, intelligent, and concerned with the soul cost of chasing one more game. Jackie Gleason is extraordinary.

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Steve Reeves as an upstart poker player facing off against Laurence Harvey. The famous final hand is genuinely tense. It's a smaller, older film that understands the game's metaphorical weight.

But It's dated and moves at a 1960s pace. If you want modern editing and speed, this will test your patience. Some find the plot mechanical.

The Cincinnati Kid poster

Uncut Gems2019

Both men chasing certainty through risk, knowing the odds, unable to stop. The compulsion isn't about money—it's about proving you're still in the game.

Adam Sandler in a Safdie brothers fever dream. A jeweler spiraling through debt and compulsion in New York. The film *is* the anxiety—the editing, the music, the production design all crash together. It's about the addiction to the next score.

But It's exhausting by design. The constant noise and visual chaos are intentional, but some viewers just find it migraine-inducing rather than illuminating.

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My Name Is Khan2010

A portrait of talent that cannot save you. In Khan's case, his gift is for reading people; for Ungar, reading cards. Both films ask: what is intelligence worth when the world is indifferent to it?

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But It's a Bollywood film, so it's long and the emotional beats are big. The melodrama might feel excessive if you're not tuned to that frequency. Some find the subject matter heavy-handed.

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