The Game - The best thriller you can watch on Netflix

David Fincher's filmography, apart from being characterized by the unique direction of the American director, also stands out for the solidity of his scripts. "The game" is, due to the necessity of its argument, one of the most careful in that section. In the film, Nicholas Van Orton is an arrogant billionaire dedicated to the world of finance to whom, for his birthday, his brother gives him a card from a company that is in charge of custom-designing the entertainment of each client. After accepting the gift, Van Orton watches as different events take place that are increasingly unexpected and disturbing.

‘The game’ plays (worth the redundancy) both with the protagonist himself and with the viewer. The situations once the game has started are unpredictable and surprising and manage to generate a tension that gradually increases, a component that is most likely the main element of Fincher's cinema and that he knows how to handle like few others. A 'tour de force' that leads to paranoia for Nicholas Van Orton, who is still haunted by the image of his father's suicide and who was able to witness when he was just a child, an important event during the game (with the figure of the clown) and at the beginning and end of the film. The protagonist sees how his life calculated to the millimeter, with his financial strength as the main hallmark, is crumbling and complicating to the limit of seeing how his own life is in danger of him. Are you sure it's just a game or is there something else?

Having a despicable billionaire as the central axis of this story helps Fincher and his screenwriters to criticize this high social class, people who believe that money is everything and that with it they can dominate everything. "What do you give a man who has everything?" Asks Conrad, the protagonist's brother. Probably that gift in the form of a game without rules is what Nicholas Van Orton deserves. Returning to the script, the film is made in such a way that the viewer creates each and every one of the events, therefore it can be said that it has a very tricky script in order to deceive, but above all to manipulate, constantly the public. The traps and lies in the story instead of harming the film (as in other films) benefit it and prevent it from being ridiculed for an evilly funny entertainment that its persevering intrigue catches until the end.

David Fincher, who shot 'The game' two years after 'Seven', used again that disturbing and disturbing atmosphere of his previous film with the addition of the in-crescendo madness of the protagonist that leaves for the end the most climactic, disappointing point , but logical if one takes into account the course of the film and for Van Orton himself. This type of film full of unexpected moments has the handicap of the loss of surprise in subsequent viewings.

Michael Douglas is Nicholas Van Orton, the actor fits the character's profile, which does not differ much from the Gordon Gekko he doubled in 'Wall Street' and its sequel, both shot by Oliver Stone. An individual with whom it is very difficult to empathize and very easy to despise, Douglas despite being a most irregular performer and with a particular taste for choosing his roles, performs here a remarkable performance. The same can be said of the rest of the cast with Sean Penn, with brief but intense appearances and Deborah Kara Unger who plays Christine, the waitress who is not really such, one of the many characters that are behind the company in charge of the play.

‘The game’ may not be one of Fincher's best films, but it is worth seeing for its originality that, together with suspense with high doses of surrealism and incredibility, mean that, without being a great film, it knows how to entertain.