The Vortex

Richard Zelniker takes a bold swing with this minimalist portrait of a deeply wounded gambling addict - and it pays off. Tackling such emotionally fraught subject matter is no small feat, but what makes this film especially daring is the way it's executed. Zelniker leans into long takes not as a stylistic flourish, but as a way to immerse us in the character's unraveling world, capturing the relentless tension of the casino and the claustrophobia of addiction. The result is a film that's both gripping and haunting. I found myself on edge throughout, fully engaged, and constantly curious where it would go next. A gutsy and impressive piece of work. Bravo!

The chemistry that Billy Gardell finds with this film's entire cast, despite his character's flaws and addictions openly on display, is incredible. Feels like a theatrical production in the best way given the caliber of acting, blocking, and interplay between static and dynamic camera movement. Richard Zelniker has done something special with this one! The gritty Vegas atmosphere is well-invited by the opening fire sequence and the claustrophobic pit scenes. The pacing is careful but engaging and it feels like we're glimpsing something we shouldn't as Gardell spirals down the proverbial vortex. Overall great watch!

I think this movie was super cool as it captured the vintage 80s Vegas style very well! While watching this movie, you will feel a strong connection with every character you meet, as they all have interesting and attention-grabbing personalities. For me, I felt the strongest connection with the main character, Pete (Billy Gardell). I loved the way he told his stories and how deep down, he's a genuine dude. Also, the camera work and music was awesome. It was very creative and it really fit the story. Lastly, the ending will keep you on the edge of your seat! I highly recommend for everyone to see it as I enjoyed it a lot.

I went to see The Vortex during its limited run in Los Angeles not realizing the story would play out against the backdrop of the 1980 MGM Grand Hotel fire in Las Vegas, but I left very impressed with the execution by Richard Zelniker and the performance by Billy Gardell.

Zelniker presents a narrative that swirls with an intoxicatingly dizzying effect, telling a cautionary tale of a comedian, Pete, played by Gardell, struggling with gambling debt and admittedly in too deep with underworld associate and friend, Jimmy, played by Christopher Titus. The complicated dance that plays out from the beginning as Jimmy comes to collect is heightened by the passage of time as well as the eerie occurrences which give way to many jackpots throughout the night, spurred by repeat visits from a Paiute woman (Emily Alabi) on the casino floor. As Pete's desperation increases, the Steadicam shots seem faster, creating a vortex-like effect from which the film draws its name, only slowing as he addresses his shortcomings through conversations with other casino patrons and attempts to take control of his fate.

The film's commitment in its depiction of characters searching for redemption through gambling provides the a near-perfect level of dissonance and in turn evokes a sinking feeling through the last act.

The picture gives me hope that independent film will live on with convincingly good quality and is proof that period pieces are possible at any level. I believe it to be a must-see for audiences seeking heavy handed character-driven films.

In this character driven "New Hollywood Cinema" style Indie gem, director Zelniker takes his time to dig deeply into a real-life crisis: gambling addiction. A star turning role for stand-up comic and sitcom actor Billy Gardell -- who handles a dramatic role like a seasoned vet -- as a likeable and sympathetic gambler who is in too deep with some shady characters. This richly stylized think piece is chock full of down on their luck working class characters that inhabit the world of "off the Strip" Vegas in the 1980s who are just trying to survive the daily grind of life. Plus, there's a touch of mysticism that provides some cinematic poetry seasoned with Indigenous spirituality. A beautiful film made for true cinema lovers.