Paul sits across from a hitman in a Columbus diner, negotiating his own murder. The gambler has two weeks to live—fourteen days he agreed to in exchange for cash that might solve his problems. Director Jon Osbeck opens his film with this premise, then spends ninety-five minutes questioning what happens when luck shifts for someone who has already signed away their life.

The film works because it treats its central conceit seriously. Michael Stahl-David plays Paul as a man who makes calculated decisions, even terrible ones. His agreement with the hitman stems from logic rather than desperation. Scottie Thompson’s Erica enters the story after the deal, complicating Paul’s final days through genuine connection rather than manufactured romance. The screenplay, written by Osbeck with Ralph Scott and Dino Tripodis, earned finalist status at the Los Angeles International Screenplay Awards before production began.

Columbus as a Character

Ohio’s capital city provides more than location shooting. The Southern Theatre screening on April 30, 2025, marked a homecoming for a production filmed entirely within city limits. Basement card games occur in actual Columbus homes. Bar scenes use local establishments. The geography matters because characters move through recognizable neighborhoods, creating authenticity that studio backlots cannot replicate.

Production company Big Deal Pictures maintained creative control throughout filming, allowing Osbeck to shoot sequences in working-class areas that Hollywood productions typically avoid. Cullen Douglas pulls double duty as producer and actor, playing Seamus while managing production logistics. This approach keeps the film grounded in specific locations rather than generic urban settings.

Card Games and Cinema Parallels

Films about gambling often draw from blackjack and poker to create tension through familiar betting structures. Down to the Felt uses card terminology throughout its dialogue, from characters discussing odds to scenes set in underground games. The screenplay incorporates gambling vernacular naturally, avoiding forced explanations that slow down similar films.

Columbus serves as the backdrop for several gambling scenes, including basement games and backroom deals. The film’s two-week timeline creates pressure through countdown sequences that parallel tournament structures. Characters reference specific hands and betting patterns that card players will recognize while still keeping the action accessible to general audiences.

Performance Notes

Michael Weston brings credibility to David, the conflicted hitman wrestling with professional obligations and personal beliefs. His scenes with Stahl-David avoid buddy-comedy tropes, instead exploring how two men process an impossible arrangement. Tim Storms appears as Charlie, adding depth to gambling sequences through understated reactions to bad beats and lucky draws.

The cast handles Osbeck’s dialogue without overplaying comedic moments or underselling dramatic beats. Thompson particularly excels during scenes where Erica discovers Paul’s arrangement, processing information through subtle facial expressions rather than theatrical outbursts. Supporting players from Columbus’s theater community fill smaller roles, bringing regional authenticity to crowd scenes and background action.

Technical Execution

Cinematography captures Columbus through practical lighting and handheld camera work that follows characters through real spaces. The film avoids stylized gambling montages, instead showing complete hands played in real time. Sound design emphasizes ambient noise from bars and card rooms, creating atmosphere through location audio rather than heavy post-production effects.

Editor Aaron Mack, who also produced, maintains pacing that allows scenes to develop naturally. The two-week timeline provides structure without forcing artificial act breaks every few days. Transitions between gambling sequences and character moments occur smoothly, avoiding the jarring tonal shifts that affect many crime comedies.

Distribution Strategy

Hawk Hill Pictures handled theatrical distribution, opening the film in limited release on September 4, 2025. The Cleveland International Film Festival premiere on April 4 built early momentum, generating regional interest before the film reached wider audiences. Apple TV+ acquired streaming rights, making the film available on October 17, according to PokerScout’s industry reporting.

IMDb users rated the film 9.1 out of 10 based on sixty-six reviews, though early ratings often skew high before eventually leveling out. The streaming release expanded access beyond festival attendees and limited theatrical markets, allowing a broader audience to discover an independent production shot entirely in Ohio.

Final Assessment

Down to the Felt succeeds through commitment to its premise and location. Osbeck directs his own screenplay with confidence, trusting actors to convey emotion through performance rather than exposition. The Columbus setting provides specificity that generic cityscapes lack, while the gambling elements support the narrative rather than overwhelming it.

The film runs exactly as long as necessary. At one hour and thirty-five minutes, it develops its concept without padding the runtime. Character decisions carry weight because consequences exist within the established two-week framework. Paul’s choices matter precisely because his time remains limited, creating tension through structure rather than artificial plot devices.

Independent films about gambling often face comparison to larger productions with casino set pieces and celebrity cameos. This film sidesteps those comparisons by focusing on character dynamics within authentic environments. The result proves that strong writing and committed performances matter more than production budgets when telling human stories about risk, consequence, and unexpected second chances.

Conclusion

Down to the Felt stands out as a tightly crafted independent drama that values character over spectacle. By staying grounded in real locations and relying on thoughtfully written dialogue and nuanced performances, the film delivers a story that feels honest and emotionally resonant. Its focus on consequences, choice, and the tension of limited time gives the narrative weight, while the Columbus setting adds texture rarely seen in gambling-centered films. For viewers who appreciate grounded crime dramas and poker-themed storytelling rooted in authenticity, this film offers a rewarding and memorable experience.