Writed by Josh Safdie / Star Mesfin Lamengo / Directed by Josh Safdie / 157575 Votes / Genres Crime / Summary Howard Ratner (Adam Sandler) is a once successful New York gems dealer whose gambling addiction has left his family and career in shambles, and him hundreds of thousands in debt. Always looking for the next big bet, Howard thinks he finally hit it big when he discovers a rare uncut rock of Ethiopian gems, with a very interested high-profile buyer. But the closer Howard gets to finally winning big, the more he is forced to realize he can't keep running from the consequences of his actions

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"Everything I do is not going right. " So sobs Howard, the adrenaline-junkie diamond dealer gambling addict played by Adam Sandler in "Uncut Gems. " Taking place over the course of a couple of days, "Uncut Gems, " directed by Josh and Benny Safdie, hurtles along a narrow track over a yawning abyss, following Howard as he attempts to pay down his huge gambling debts by, of course, placing increasingly risky bets. There's the hope that once he pays it all off, he'll wipe the slate clean, and repair some of the bridges he's burned. But everyone around Howard knows this is a fantasy. His addiction is too entrenched. The dazzle of the "uncut gems" in the title is not a surface shine. It glows at the center of the earth, it burns in Howard's core. It makes sense, then, that "Uncut Gems" would start with a sequence where the camera goes inside a black opal (dug out of the Welo opal mines in northern Ethiopia) which then morphs into the inside of a human colon. The colon of Howard, to be exact, as he endures a colonoscopy. The images on the hospital monitor look similar to the fantastical space of the opal's innards, its curves and layers. This is metaphor writ so large it's brazen, a theme hammered home with refreshing rhetorical candor. The opal is inside Howard, his need for it comes from the basest part of him. He lives in a state of "gold sickness" or "dragon sickness" (so vividly described by J. R. Tolkien in The Hobbit), the hypnotic power of gems luring men into madness since the beginning of time, seeking pirate's gold, El Dorado, the Holy Grail, on doomed colonialist adventures. Howard's black opal is the same as any long-besought gem: it emanates a magical pull on all who look upon it. Its power is almost wholly symbolic. Co-written by the Safdies and regular collaborator Ronald Bronstein, "Uncut Gems" immerses you in Howard's nutty cacophonous world. Howard's jewelry shop in New York's Diamond District is a tiny space with the atmosphere of a three-ring circus. The double entrance to his shop—requiring two buzzes—is a buffer between Howard and the world, giving him (at the most) 10 seconds lead time against anyone looking for him. His assistant Demany ( LaKeith Stanfield) hustles clients who might be interested in the flashy items in Howard's inventory, and the latest lure is Boston Celtics star Kevin Garnett (playing himself), waiting in the shop when Howard returns from the colonoscopy. Howard can't resist showing Garnett his latest acquisition: the opal, just arrived from Ethiopia, which Howard is putting it up for auction later in the week (at a hugely inflated price). He tells Garnett about how he feels connected to the Ethiopian Jews who dig up the opals, and his enthusiasm is so passionate it's catching. Garnett asks if he could borrow the opal for good luck at the upcoming Eastern Conference finals, and Howard says yes. Howard saying "yes" is the first of the many, many terrible choices he makes over the next 135 minutes. He owes so much money that goons follow him around, showing up at his office. These people mean business. His wife ( Idina Menzel) seethes with hatred for him. His daughter can barely tolerate him. He's put up his young mistress ( Julia Fox) in an apartment he's rented for her. Howard is always on the go, always running out of rooms, racing down sidewalks, charging across lobbies. And that's the thing about addiction, the thing that "Uncut Gems" really understands. On some level, the stress is the point. The nerve endings are so frayed they need the stress. Howard is useless without panic. So is his mistress, who also suffers from a form of "gold sickness. ” It is their main bond. This is not a "cautionary tale" about the dangers of gambling. It's more like a virtual-reality game where you step into Howard's experience. The Safdies use New York City in ways that haven't been seen since films in the '70s. The city has been so cleaned up and gentrified and homogenized it might be easy to forget that so much goes on at street-level, so much chaos, the marginalized and lost seeking a foothold, the grifters and hustlers slipping through the cracks, working their angles. The Safdies' " Heaven Knows What " was documentary-like in its approach, but their follow-up " Good Time " was a race-against-the-clock thriller, its action sprawling over the five boroughs. The Safdies are nervy, funny, and comfortable with discomfort. Their characters have no access to comfort, and yet in every moment they're striving to escape, hustle, talk their way out of things, talk their way into things, get what they need, what they want. Veteran cinematographer Darius Khondji (a changeup from the Safdies' regular collaboration with Sean Price Williams) brings out the sickly gleam in this world, the green-fuzz of the interior lighting, the glamour of some of the interiors juxtaposed with the sleaze of the others. In a recent conversation between Adam Sandler and Brad Pitt for Variety's Actors on Actors series, Pitt observed that even though Howard makes all these bad choices in "Uncut Gems, " you worry about the guy. It is Pitt's contention that this is because of Sandler's "warm-heartedness, " something you always feel, no matter the material. I think there's something to that. You hear people expressing surprise when Sandler gives a good performance. There should be no surprise. When he's given good material, like Paul Thomas Anderson's "Punch Drunk Love, " or Noah Baumbach's "The Meyerowitz Stories" (to name just a few), he's as good as it gets. Behind his humor is pain and rage, both of which he is able to tap into. Here, as Howard, complete with goatee, fancy glasses, "club" clothes, he is a portrait of a man living on the edge. He never stops talking. He never stops striving, scheming, shouting, hustling. In his eyes is the devotional gleam of the big score. "Self-delusion" is a redundant term. All delusions come from a willingness to buy into a fantasy, an off-chance, a long shot. In a delusion, your brain is a cage, and you are your own prison guard, monitoring the perimeters of allowable thought. Delusion feeds addiction, and addiction needs a constant supply of delusion. "Uncut Gems" shows this electrified-fence feedback loop like no other film in recent memory. It's excruciating and exhilarating. Sheila O'Malley Sheila O'Malley received a BFA in Theatre from the University of Rhode Island and a Master's in Acting from the Actors Studio MFA Program. Read her answers to our Movie Love Questionnaire here. Uncut Gems (2019) Rated R for pervasive strong language, violence, some sexual content and brief drug use. 130 minutes 2 days ago 3 days ago.

Free åe r e. Free 原e.e.p. Free e5 8e 9f e9 91 bd review. Free åe.g.o. Free e8 a1 80%e8 a1 9b pdf. Free e5 8e 9f e9 92%bb for sale. Free e8 a1 80%e8 a1 9b 10. Free e5 8e 9f e9 91%bd sport. Free e e k. Free e5 8e 9f e9 91%bd 5. Audiences have been comparing Josh and Benny Safdie’s “ Uncut Gems ” to a cocaine rush since it premiered at the Telluride Film Festival. I wouldn’t know, but it’s a trip all right: Like a cross between a seat-of-your-pants heist movie and a protracted heart attack, this virtuoso character portrait grabs viewers by the lapels and thrusts them into the mind of Howard Ratner ( Adam Sandler), which is not a place most moviegoers would care to spend much time. That’s because most moviegoers are looking for simple escapism, whereas “Uncut Gems” feels like being locked inside the pinwheeling brain of a lunatic for more than two hours — and guess what: It’s a gas! Howie runs a by-appointment-only jewelry store in New York’s diamond district, a humming network of tiny stands and private showrooms where specialists handle the bulk of the city’s precious stones. It’s a traditionally Jewish enclave, and everyone there seems to know Howie, who’s well-liked but an obvious loose cannon: A reckless adulterer, an incorrigible gambling addict and a borderline con artist, Howie owes his brother-in-law Aron (Eric Bogosian) a sum somewhere in the low six figures, but like always, he’s got a plan that will make him rich. He’s expecting delivery on a massive black opal, which he believes to be worth at least a million dollars. In an act of pure showmanship, the Safdies show the treasure being hauled out of an Ethiopian mine in an opening scene that plays like something out of “Raiders of the Lost Ark, ” plunging into the sparkling core of the stone via a gag shot that spins through the cosmos for a minute or so before coming out the other end deep in Howie’s bowels. For some audiences, getting an actual colonoscopy would be more pleasant than the experience of sitting through “Uncut Gems, ” which the Safdies have carefully tooled for our discomfort, layering a cacophony of sound and music on top of DP Darius Khondji’s restless handheld camerawork, all of which intensifies the insanity of the overlapping crises in Howie’s life. The trick is to embrace this unique opportunity to identify with such a high-strung character — a throwback to the maddening, trapped-inside-Sandler’s-head experience of Paul Thomas Anderson’s “Punch-Drunk Love” nearly two decades ago. That was the film that demonstrated how the right director could take what had long annoyed critics about Sandler’s shrill, stunted man-child routine and leverage it on behalf of more nuanced character studies. Here, the goateed actor dons a diamond earing, false teeth and tinted specs to create an all-new character: an immature grownup with a knack for making the worst decision in any given situation. While the Safdies no doubt had Anderson’s film in mind when they cast Sandler, the milieu came first. The siblings have been wanting to make a movie about Manhattan’s diamond district for more than a decade. As Josh put it before the big Telluride screening, “It feels like every movie [we’ve made] has been an educational detour for this film, ” and sure enough, “Uncut Gems” serves as a summation of their previous work, from the nearly oppressive subjectivity of “Daddy Long Legs” to the anxiety-inducing petty-crime spiral of “Good Time. ” With “Uncut Gems, ” the directors have definitely hit the big time, making a divisive but undeniably rowdy character study that rivals such heavyweights as “Taxi Driver” and “Pi” in its single-minded commitment to a certifiable head case. Maybe to Howie, it looks like he’s got everything under control, but even his love life is a mess: While multi-tasking a high-maintenance fling with one of his clerks (sly newcomer Julia Fox) on the side, he’s trying to keep his wife (Idina Menzel, all pursed lips and exhausted patience) and kids happy at home, stepping out of his daughter’s school play to escape the debt collectors hovering in the back row (those perfectly cast goons round out the believably ripped-from-real-life ensemble). Among Howie’s many stress-management strategies — tricks that work for him better than they do for us, who aren’t accustomed to functioning in red-alert mode all the time — is a tendency to run his mouth, and the Safdies are shrewd not to make him sound any more eloquent than the desperately cornered shmuck that he is. Their darkly comedic script (co-written with “Daddy Long Legs” star Ronald Bronstein) spans roughly a week’s time, prioritizing the moments when Howie must think fast, as when he catches his girlfriend flirting with hip-hop star the Weeknd at a private party, or later, when he orders her to place a massive sports bet while Aron and his thugs sit trapped in the security chamber outside his shop. His big hope remains the rare Ethiopian opal, which shows up stuffed into the guts of a frozen fish while Boston Celtics star Kevin Garnett is browsing the shop for bling. One of the many high-end clients whom celebrity hook-up Demany (Lakeith Stanfield) brings around, the basketballer represents a new class of American wealth that Howie and his community are all too happy to serve — although the opal, which catches Garnett’s attention immediately, is earmarked for auction the following Monday. Garnett asks to borrow the rock, treating it like a good-luck talisman for the night’s big game, and against any sane person’s better judgment, Howie agrees, scrambling to pawn a few valuable items (none of which are his) so he can place a bet on the outcome. That Celtics game — which finds Howie shouting at the TV as it unfolds across a series of squirm-inducing domestic scenes — is but one of the sequences in which audiences will find it hard to breathe, feeling their temples throb amid composer Daniel Lopatin’s dialogue-drowning music. Without question, watching “Uncut Gems” is a singular experience, but a tough one to recommend, since most people would prefer not to have their eyes punched and ears hammered nonstop for two hours in what amounts to a relentless sensory assault. Does Howie ever relax? When does he sleep? More experienced filmmakers know how to modulate the tone over the course of the film, orchestrating both highs and lows, with quiet, reflective moments built in for people to catch their breath. By contrast, the Safdies are committed to sustaining the intensity for the entire running time, which can be both exhilarating and exhausting. In their view, there is variation in Howie’s mood: There are moments when the man feels genuinely happy, and Sandler’s supernova presence radiates extra hot to reflect them. But Howie lives less for the promise of the ultimate score than for the addictive thrill that things could go sideways in a flash. And do they ever when that time comes, making for an ending that will go down in film history — shocking and yet somehow inevitable.