‘Game Night’: A surprisingly original parody of, and homage to, action films (review)

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2018 comedy “Game Night” presents a pleasant homage to and parody of the action thriller genre. Chock full of pop culture references and bubbling with a delightful self-awareness, it’s a well-acted, entertaining romp.

Max (Jason Bateman) and wife Annie (Rachel McAdams), are competitive gamers. Initially, the couple met at a bar trivia night, and their marriage includes regular game nights with their friends Ryan (Billy Magnussen), Kevin (Lamorne Morris), and Michelle (Kylie Bunbury). However, these parties are kept secret from next door neighbor and former game night participant, humorless cop Gary (Jesse Plemons).
The game night routine witnesses a drastic disruption when Max’s brother Brooks (Kyle Chandler) visits. Brooks throws a radical new game night with an interactive mystery game. However, a pair of real kidnappers capture Brooks while the guests, under the impression this is an act, watch passively.

On the surface, “Game Night” is a routine action comedy. Yet, its self-aware humor and slew of pop culture references transform “Game Night” from mundane, over-the-top thriller to miraculously meta genre flick. As such, “Game Night” is the “Scream” of action movies. Annie holds pulls out a gun which she believes to be fake in a bar, and quotes “Pulp Fiction” yelling “Any of you fucking pricks move, I’m gonna execute every motherfucking last one of you!” When confronted at a ritzy party, Ryan introduces himself as the CEO of Cyberdyne Systems, a fictional company from “Terminator 2.” In the finale, Annie asks if plans to crash his car into a plane preparing for takeoff like Liam Neeson did in “Taken 3.” It’s a group of pop culture obsessed friends, and this is a movie for film buffs.

With its ensemble cast, acting shines. It’s Billy Magnussen as Ryan who completely commandeers each scene he’s in. Similarly, Jesse Plemons plays a stoic, somewhat creepy Gary whose presence overshadows the substantial onscreen talent he’s surrounded by. The score, composed by Cliff Martinez, genius composer behind the soundtrack for “The Neon Demon,” crafts a pulsing electronic musical backing. It varies from uptempo to mellow, ominous to cheerful, perfectly matching visual action.

While it’s mostly enjoyable, the third act falters a bit. The finale features a series of twists which, though successfully lampooning the genre, falls prey to the pitfalls it uncovers. Throughout the narrative, “Game Night” takes several gambles. The majority pay off, but last act morphs from clever to cliche.

Despite its uneven ending, “Game Night” manages to craft a riveting, comedic narrative that’s a treasure trove of references for pop culture aficionados. Coupled with its witty celebration of action flicks, and subtle parody, “Game Night” emerges a winner.