Mississippi Grind review

Two gambler’s head out on an adventure to see how long their luck will last.

For a large part of the 108 minute running time of Mississippi Grind I didn’t know what to make of it. And that’s a totally refreshing thing.

When was the last time you watched a film that totally defied conventions? That was so slippery you weren’t even sure what genre it belonged to? And this isn’t some fired up message homage which rampages from horror to action to thriller. It’s an undulating, character driven road movie which refuses to be tied down.

For the most part, this is a tale of the misfortunes of Ben Mendelsohn’s Gerry, a down on his luck gambler played by an actor who was born for this kind of part. He’s a broken man in every element from shoes to his face fractured by a smile that could turn to tears at any moment. And he gives a typically brilliant performance that’s constantly open to the possibility of hope but frequently dashed.

Next to him is the perfectly cast Ryan Reynolds who brings great contrast with his moviestar looks and easy charisma. But Curtis isn’t a simple character and while he might be on better terms with lady luck than Gerry that doesn’t mean there haven’t been bumps in the road along the way.

Fair warning, Mississippi Grind is a chat-heavy picture, more content to linger in an exchange than progress the plot for the most part. But these two players have more than enough going on to keep your attention, especially as they interact with a series of supporting sorts including Sienna Miller, Analeigh Tipton and Robin Weigert.

Still there’s a surprising amount of tension at play throughout the film, mostly because we’re rooting for Mendelsohn but we know deep down that he’s an inveterate cinematic loser. The cycle of triumph and disaster is so ingrained in us as viewers that we’re waiting for every hopeful moment to come crashing down. But we’re willing to believe it can get better again, thanks to the calibre of these performances.

Co-writers and directors Anna Boden and Ryan Fleck, who previously made Half Nelson, have created another impressively nuanced work here and there’s a good chance some audience members will be turned off by its slow pace. But give it a chance, settle in for the duration and you’ll find a unique and surprising drama. And you’ll instantly be part of the Ben Mendelsohn club, if you weren’t already.