George Kennedy

Preserves a time when one could not only get away with making an allegory with an existential hero, but stock it with an ensemble from the Actors Studio.

A delightfully old-school comic thriller and an unlikely romance that proved Grant—then in his late fifties—still had it.

The extent to which The Gambler may intentionally or unintentionally glamorize or romanticize gambling does raise concerns, but...[the film] remains a study in the self-destructive personality.

A dated and morally dubious propaganda film.