The film is at least a gleefully nasty piece of myth-cementing jukebox hokum.
There’s something to be said for Michael Bay’s turn to less expensive films after crafting quarter-billion-dollar toy commercials for the better part of a decade.
The ultimately forgettable Runner Runner is, for a gambling film, markedly risk-averse.
Steven Soderbergh’s self-professed final film, Side Effects, has reason to resemble a feature-length drug commercial.
The Wire has never reduced its stories to a soundbite and this season is no different.