the big town movie review

The Big Town

This story has been told a hundred times, and yet when it is told well it is always fun to watch it being told again. The kid comes from the small town to the big city. He has a gift. He signs up as a professional, working for some pretty tough people. He meets a good girl. He meets a bad girl. He meets a villain. He wants more independence than his employers will give him. At the end of the story, we don’t have to be movie producers to know that he will reject the bad girl, embrace the good girl, defeat the villain, triumph in his big test and win his independence.

This story could be about baseball, jazz, open-heart surgery, computer programming, tap dancing or mind reading. In “The Big Town,” it’s about gambling. Matt Dillon plays the farm boy from Iowa who keeps winning at the crap tables because he knows the odds cold and because he has amazingly good luck. Suzy Amis plays the good girl, a waitress supporting her small son. Diane Lane plays the bad girl, a stripper who is married to Tommy Lee Jones , who is the villain. The employers are Lee Grant and Bruce Dern , a married couple who are professional gamblers with a string of dice players, or “arms,” under contract.

Add a few character touches and you’ve got it. For example, Dern was blinded by acid years ago and is looking for the man who did it – a man with a heart tattooed on the inside of his wrist. Lane married Jones because she thought she’d get control of half of his business, but she was wrong. And Grant used to be in love with the Iowa gambler who sent Dillon to the big city to work for her.

Why am I persisting in describing so much of the plot? So you can see that the story has little to do with the brilliance of this film. “The Big Town” is compulsively watchable, not because of its plot, which is predictable down to the smallest detail, but because of its acting, its direction and its style. This is a great-looking movie that never steps wrong, and Dillon uses it to demonstrate once again that he is a master of unforced, natural acting. In a 1950s period film that’s wall-to-wall with cliches, he never seems less than absolutely at home.

Dillon has some kind of spontaneous rapport with the camera. He never seems aware of it, never seems aware that he’s playing a character. His acting is graceful and fluid, and his scenes always seem to start before their first shot so that we see him in the middle of a motion. “The Big Town” requires him to spend a lot of time shooting craps, and you wouldn’t think it would be possible to bring anything new to the sight of a man throwing dice onto a table, but Dillon does. He has little moves, subtle small touches of body language, that make every throw important.

The actors around him also are good, especially Jones as the evil vice boss who has his best moments when he simply stands and looks at Dillon with eyes filled with hate. Amis, a newcomer, is fresh and appealing as the waitress who loves this small-town boy, and Lane is able to seem sincere to Dillon while letting us know she’s calculating every move.

The look of the movie is effective in its studied artificiality. It’s set in Chicago’s South Loop, under the L tracks, in a series of exteriors and sets that are only supposed to represent both sides of a block or two. This is the 1950s back-lot look, brought to a location. The photography and the wall-to-wall period music on the soundtrack (Ivory Joe Hunter, Big Joe Turner, Little Willie John, Ray Charles , Red Sovine) get the right balance between the wickedness of the big city and the dreams of the small-town kid. The story is predictable, but the style had me on the edge of my seat.

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

• Lee Grant as Ferguson Edwards
• Tom Skerritt as Phil Carpenter
• Del Close as Deacon Daniels
• Bruce Dern as Mr. Edwards
• Diane Lane as Lorry Dane
• Suzy Amis as Aggie Donaldson
• Matt Dillon as J. C. Cullen
• Tommy Lee Jones as George Cole

Directed by

Produced by.

• Martin Ransohoff
• Michael Melvoin

Photographed by

• Ralf D. Bode
• Robert Roy Pool
• Stuart Pappe

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The Big Town (1987)

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"The Big Town" is a hidden gem from the '80s that deserves more recognition. It's a stylish and gritty film that takes you back to the days of old-school noir with a touch of gambling and seduction. Set in the 1950s, the movie follows the journey of J.C. Cullen, played by Matt Dillon, a small-town guy with big dreams who moves to Chicago to make it as a professional gambler. He soon finds himself entangled in a dangerous love triangle with two women: Lorry Dane, a sultry nightclub singer played by Diane Lane, and Aggie Donaldson, a seductive and mysterious woman portrayed by Suzy Amis. "The Big Town" captures the allure and danger of the city, immersing you in the vibrant nightlife and the shady underbelly of gambling. The film is filled with atmospheric visuals, showcasing the neon lights, smoky casinos, and glitzy jazz clubs of the era. Matt Dillon delivers a solid performance as the ambitious J.C. Cullen, portraying a mix of charm and naivety as he navigates the treacherous world of gambling. Diane Lane oozes sensuality and vulnerability as Lorry, while Suzy Amis adds an air of mystery and danger to her character. The film's plot keeps you engaged with its twists and turns, as J.C. finds himself caught between love and betrayal, loyalty and greed. It's a tale of ambition, temptation, and the price one is willing to pay for success. "The Big Town" may not be as well-known as other '80s films, but it's definitely worth a watch for fans of noir and atmospheric dramas. It captures the essence of a bygone era and delivers an intriguing story with a touch of romance, danger, and suspense. So, if you're in the mood for a stylish and seductive thriller that transports you to the glamorous yet perilous world of 1950s Chicago, "The Big Town" is the perfect choice. Grab some popcorn, dim the lights, and get ready for a captivating journey into the heart of the big city.

The Big Town, directed by Ben Bolt and released in 1987, is a stylish neo-noir thriller that immerses viewers in the gritty and seductive world of gambling, crime, and romance. Set against the backdrop of 1950s Chicago, the film weaves a tale of ambition, temptation, and dangerous allure. The story follows J.C. Cullen, played by Matt Dillon, a small-town drifter who arrives in Chicago with dreams of becoming a professional craps player. However, J.C. quickly finds himself entangled in the web of a powerful and corrupt casino owner, George Cole, portrayed by Lee Grant, and his seductive wife, Lorry, portrayed by Diane Lane. As J.C. navigates the treacherous world of high-stakes gambling and forbidden desires, he becomes torn between love, loyalty, and his own survival. The Big Town captures the essence of classic film noir, with its moody atmosphere, morally ambiguous characters, and a labyrinthine plot filled with double-crosses and dangerous secrets. The film evokes a sense of nostalgia for the era it depicts, immersing viewers in the smoky backrooms, glitzy casinos, and dimly lit streets of Chicago. The production design effectively recreates the period, and the cinematography by John A. Alonzo enhances the film's noir aesthetics, with its stylish lighting and shadowy compositions. Matt Dillon delivers a solid performance as J.C., portraying the character's mixture of charm, vulnerability, and ambition. Diane Lane exudes sensuality and complexity as Lorry, while Lee Grant brings a sinister presence to the role of George Cole. The supporting cast, including Tommy Lee Jones as a charismatic rival gambler and Bruce Dern as a cunning detective, further enhances the film's ensemble. The Big Town excels in its depiction of the high-stakes gambling scenes, showcasing the thrill and tension of the games while delving into the psychology of risk-taking and addiction. The film's screenplay, adapted from the novel "The Arm" by Clark Howard, offers a well-constructed narrative with twists and turns that keep the audience engaged. The pacing is generally solid, maintaining a sense of suspense and intrigue throughout. However, the film does suffer from occasional pacing issues, with certain scenes feeling drawn out or lacking in momentum. Additionally, while the chemistry between the lead characters is palpable, the development of their relationships and motivations could have been further explored and fleshed out. In summary, The Big Town is an entertaining neo-noir thriller that captures the allure and danger of 1950s Chicago's gambling underworld. With its stylish visuals, strong performances, and a compelling narrative, the film delivers an engaging viewing experience. While it may not reach the heights of some classic noir films, it offers an enjoyable ride for fans of the genre and serves as a reminder of the timeless appeal of stories set in the shadowy corners of the big city.

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The Big Town (1987)

Directed by ben bolt / harold becker.

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Description by Wikipedia

The Big Town is a 1987 film drama about a young man who comes to the big city to work as a professional gambler, in the process becoming romantically involved with two women—one of whom is already married. The film was directed by Ben Bolt and Harold Becker and it stars Matt Dillon, Diane Lane, and Tommy Lee Jones.

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• "The story is predictable, but the style had me on the edge of my seat. (...) Rating: ★★★½ (out of 4)"  Roger Ebert : Chicago Sun-Times
• "This huge cliche of a movie isn't even a distant relation of films like The Color of Money, which can actually make you root for hustlers. The Big Town only proves we've gone back to the 1950's one time too many."  Caryn James : The New York Times
• "There's not a performance here that doesn't ring true, nor is there a period detail that's the least bit anachronistic in Bill Kenney's production design and Wendy Partridge's costumes" Kevin Thomas : Los Angeles Times
• "Despite all the props, costumes, and music, the film conveys no feel for the city, the period, or the seedy gambling milieu." TV Guide
• "'The Big Town' aims to be 'The Hustler' with dice, but it's just a lot of craps -- a laughable, overlong look at a small-town gambler's comeuppance at the hands of Chicago's high rollers."  Rita Kempley : The Washington Post

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The big town.

Directed by Ben Bolt

Lady luck is always on his side. Tonight, she's on fire.

It is 1957. J.C. Cullen is a young man from a small town, with a talent for winning at craps, who leaves for the big city to work as a professional gambler. While there, he breaks the bank at a private craps game at the Gem Club, owned by George Cole, and falls in love with two women, one of them Cole's wife.

Matt Dillon Diane Lane Tommy Lee Jones Bruce Dern Lee Grant Tom Skerritt Suzy Amis David Marshall Grant Don Francks Del Close Meg Hogarth Cherry Jones Alvaro D'Antonio David James Elliott Steve Yorke Chris Owens Sean McCann Kevin Fox Marc Strange Don Lake Angelo Rizacos Chris Benson Gary Farmer Diego Matamoros Sarah Polley Kirsten Bishop Kenneth McGregor Viki Matthews Cherie McGroarty Show All… Sandy Czapiewski Marie Siebert Julie Conte A.C. Peterson Sam Malkin Robert Morelli Layne Coleman Lolita Davidovich William Colgate William Forrest MacDonald Len Doncheff Michael Caruana Richard Comar Lubomir Mykytiuk Robert Ramsay Collins Errol Slue Gerry Pearson Hugo Dann John Evans J. Winston Carroll Diane Gordon

Director Director

Producers producers.

Jon Turtle Martin Ransohoff Don Carmody Joyce Kozy King

Writer Writer

Robert Roy Pool

Original Writer Original Writer

Clark Howard

Casting Casting

Nancy Klopper

Editor Editor

Stuart H. Pappé

Cinematography Cinematography

Ralf D. Bode

Assistant Directors Asst. Directors

Andrew Shea Don French Howard Rothschild

Executive Producer Exec. Producer

Production design production design.

Bill Kenney

Art Direction Art Direction

Dan Yarhi Maher Ahmad Dennis Davenport

Set Decoration Set Decoration

Mark S. Freeborn Rose Marie McSherry Raymond W. Fleischman

Composer Composer

Michael Melvoin

Costume Design Costume Design

Wendy Partridge

Makeup Makeup

Katherine Southern Tim Mogg

Hairstyling Hairstyling

David R. Beecroft

Albacore Productions Inc. Columbia Pictures

Releases by Date

25 sep 1987, releases by country.

• Theatrical R

109 mins   More at IMDb TMDb Report this page

Popular reviews

Review by lu ★★★

I’m a simple girl: I see Matt Dillon and I hit the play button.

Review by MichaelEternity ★★★½ 1

Mike and Dave's Scavenger Hunt, Vol. 2! The Spawning  #4: A film about gambling

Well now where has this movie been hiding for 29 years? Never even heard of it till I went scavenging for options on this task. Normally if something domestic and star-studded flies beneath my radar at this point, after decades of browsing movie history and especially if we're talking within my personal favorite decade, I have to assume it's someone's unwatchable home movies or an embarrassment that someone's trying to keep buried. But "The Big Town" is nobody's mistake - it's a satisfactory if simply not very ambitious work, an earnest, somewhat sanitized but smartly played film noir throwback that takes pride in its tropes and commits…

Review by ZaraGwen ★★ 1

I've realised that I don't really like movies about gambling

Review by Braden ★★½

The dice that Jack rolled

Review by blujeanbillie ★★

I watched this even though I have ZERO interest in craps or gambling for that matter but I do have a TON of interest in Matt Dillon.

Also last watch of the year!! 🎉

Review by daniel ★★½

matt dillon i fucking love u

Review by Seesty ★★★

The '80s sure did love the '50s. I probably enjoyed this more than it warranted due to my abiding affection for gambling movies. It has a stacked cast which, sorry to say, breaks along age (and hair) lines. You’ve got the sure and steady grownups (Bruce Dern, Tommy Lee Jones, Tom Skerrit, even a daft Dell Close) and the more uneven youngsters (Matt Dillon, David Marshall Grant, and Diane Lane) with the exception of Suzy Amis Cameron who I found to be soulful and grounded, although I didn’t buy her or, for that matter, anyone else’s behavior, especially as it related to the love triangle between she, Lane, and Dillon, whose arm isn’t his only golden appendage. Not even a…

Review by Dave Horwitz ★★½ 2

Most of Amazon Prime’s suggestions are completely wacked, but sometimes they rec you a drama with the most stacked 80s cast you’re ever going to see: Matt Dillon, Diane Lane, Lee Grant, Bruce Dern, Tommy Lee Jones, Tom Skerritt, and the mad lunatic of Chicago improv himself DEL CLOSE??! If you’re like me you’re thinking wow how have I not heard about this movie that’s essentially The Color Of Money if it was about craps? And the answer is because craps is a confusing game and about 40% of this movie is pure craps gameplay. The other 60% is… kind of flat. Dern’s great, though. Very weirdly prestige-y for a movie that had absolutely no legacy, though. Find me a living soul who has seen this movie and I’ll venmo you $8.

Review by RetroHound ★★★

If I'd known this had so much gambling in it, I doubt I would have watched it. Well, maybe I would just for Diane Lane. She has a nice fan dance that almost makes it worth it.

Some kid in Indiana is a super lucky craps player and his mentor says he should go to Chicago to play for some people he knows. He goes, and falls for a couple of women (one is Tommy Lee Jones' wife, Diane Lane) and plays a lot of dice. The movie looks great and has a fantastic soundtrack. I really liked the ending, it was perfect.

Review by Corey J. Brewer ★★★½

During the years of 1983 to 1987 Matt Dillion & Diane Lane were exiled to the years 1957 to 1964, a punishment for crimes that have never been disclosed.

Review by maria ☆ ★★★

Dude what the fuck are the rules of craps

Review by Scott Kelly ★★½

Growing up in Toronto and environs (a self-proclaimed Hollywood North due to tax incentives, exchange rate advantages, a skilled work force and easy to disguise generic urban locations) you could easily stumble across evidence of film and TV production. If you were lucky enough there might even be a placard identifying the name of the production. As a youngster, the first time I noticed evidence of exterior location work for a “period film” was in connection with this one. Vintage cars (yellow cabs, mostly) lined the streets. While Toronto was more likely to step in for NYC than Chicago (which had its own pretty robust local industry), this time it was the Windy City, absent any L-Trains (hell, even Chicago …

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The Big Town Reviews

How easy it is to say this, but alas, it must be said: The Big Town is a big waste.

Full Review | Original Score: 1/4 | Aug 17, 2021

A disheartening formulaic story of a crap-shooter trying to stay ahead of the game.

Full Review | Original Score: C+ | Mar 20, 2015

Full Review | Original Score: 2/5 | Oct 9, 2005

Full Review | Original Score: 3/5 | Sep 1, 2005

Offers little in the way of dramatic action and sputters even worse in its character developments.

Full Review | Original Score: 1/5 | Aug 25, 2004

Full Review | Original Score: 3/5 | Jun 4, 2004

Full Review | Original Score: 3/5 | Aug 22, 2003

This story has been told a hundred times, and yet when it is told well it is always fun to watch it being told again.

Full Review | Original Score: 3.5/4 | Jan 1, 2000

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The Big Town (1987)

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Matt Dillon in 'The Big Town'

By Caryn James

• Sept. 25, 1987

IT'S the great American theme: a small-town boy seeks his fortune in the big city. In this case he's the best crapshooter at the local garage and he heads off to ''The Big Town'' of Chicago in 1957, where he makes a pile of money and has to choose between two women: a married stripper and an unmarried mother with a heart of gold. So it's not Horatio Alger. More to the point, this huge cliche of a movie isn't even a distant relation of films like ''The Color of Money,'' which can actually make you root for hustlers. ''The Big Town'' only proves we've gone back to the 1950's one time too many.

There must be some behind-the-scenes explanation for what went wrong, but the evidence of the movie's failures is right there on the screen. Matt Dillon, who has shown some charm and flair in earlier films (such as ''The Flamingo Kid''), can only look brooding as J. C. Cullen, the young man who rolls the dice and can figure the odds so well he becomes known as ''Cully the Arm.'' We might be able to sympathize with him if we could find a coherent character to sympathize with. But he is not quite innocent and not very wise, not quite dynamic amd certainly not charming. He is easily defined by what he's not, because the whole film seems to have crucial pieces missing.

My favorite nonsense sequence goes like this: Cully and the stripper, Lorry Dane (Diane Lane), act out one of the coldest, least erotic sex scenes in recent movies; she's leaning against the bar in the strip club and he gives new meaning to the word quick. Next, they're walking down the street arm in arm, nuzzling each other (could this be love?), when we cut to a shot of Cully alone in his bed, where he gets a phone call from his mother with bad news from home. You can try to construct your own, better-built movie from the hints thrown around here (Clark Howard's novel ''The Arm,'' on which the story is based, may hold some of the missing pieces). But the director, Ben Bolt - who has directed many television shows in England and the United States, and so should know better -won't give you much to work with.

Lee Grant and Bruce Dern play the couple whose gambling stable Cully joins, and they both look as miserably stiff as any top-rate professional actors can. Tommy Lee Jones, as Lorry Dane's husband, doesn't have to do more than look sleazy and menacing, so he glowers and wears shiny silk shirts and a dollar-sign tie clip. Remarkably, Suzy Amis makes the young mother, who dreams of becoming one of the first women to be a disk jockey, someone to care about; Ms. Amis is obviously bringing more to the role than the screenplay has given her.

Like the actors, the music and other 1950's trappings resemble tacky artificial decorations hung on the story. They don't do much to convince us this is another time and place. In fact, ''The Big Town,'' which opens today at the Sutton and other theaters, seems full of 1980's people crazily caught up in 1950's nostalgia, as if they've dropped by some We-Love-Elvis costume party and can't wait to get back home.

Rolling a Three

THE BIG TOWN, directed by Ben Bolt; screenplay by Robert Roy Pool, based on the novel ''The Arm'' by Clark Howard; director of photography, Ralf D. Bode; film editor, Stuart Pappe; music by Michael Melvoin; production designer, Bill Kenney; produced by Martin Ransohoff; released by Columbia Pictures. At Embassy 1, Broadway and 46th Street; Sutton, 57th Street and Third Avenue; 86th Street Twin, near Lexington Avenue; 23d Street West, at Eighth Avenue; Metro Twin, 99th Street and Broadway. Running time: 110 minutes. This film is rated R.

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The gang play inside a railroad box car which suddenly closes, trapping them inside. The next morning they find themselves in New York City. After seeing some of the sites on foot, they steal a 5th Avenue Bus, and are caught by the police.

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• Dennis Schwartz Movie Reviews Dennis Schwartz A disheartening formulaic story of a crap-shooter trying to stay ahead of the game.
• Spirituality & Practice Frederic and Mary Ann Brussat Offers little in the way of dramatic action and sputters even worse in its character developments.
• Chicago Sun-Times Roger Ebert This story has been told a hundred times, and yet when it is told well it is always fun to watch it being told again.
• Miami Herald Ryan Murphy How easy it is to say this, but alas, it must be said: The Big Town is a big waste.

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