Money Monster 2016
Directed by Jodie Foster
Starring George Clooney, Julia Roberts, Jack O’Connell, Dominic West, Caitriona Balfe, Giancarlo Esposito
SYNOPSIS:
Flamboyant TV host Lee Gates (George Clooney) is fronting his daily show about the financial markets when he’s taken hostage by a distraught investor (Jack O’Connell), who bursts into the studio armed to the teeth. He’s lost all his money by following one of Lee’s tips and, for him, the buck stops jointly with the pundit and the top man at the company involved. While the crisis is played out on live TV, the show’s producer (Julia Roberts) works frantically behind the scenes to uncover the real reason why the company’s investors were left high and dry.
Margin Call, 99 Homes, its (unofficial) companion piece The Big Short and now Money Monster. All films inspired by the financial crash, but Jodie Foster’s fourth film as a director takes a different approach. Instead of being set during the meltdown itself, or in its immediate aftermath, this is closer to today and sets out to combine a thriller with a satire.
Yet it’s a film with a curiously old fashioned feel and a resounding echo from Sidney Lumet’s Network (1977). It comes in the shape of Jack O’Connell’s Kyle, the enraged and flat broke investor who, like Peter Finch, is “ as mad as hell and not gonna take it any more.” Not that he utters those actual words, but the sentiment is still the same. His initial rage is directed very much towards Clooney: he’d taken his advice at face value and now everything has come crashing down. The explanation? What the company concerns describes as “a glitch”. Yeah, right. It doesn’t take long for it to become obvious that something fishy has been going on and the only person who can really explain it is front man, Walt Camby (Dominic West).
An angry protagonist, an explosive vest and a race against time to track down the real villain all make up the thriller element and, given that it’s played out in real time, you expect something more nerve-jangling than you actually get. It’s workmanlike but, despite some good moments, your knuckles stay exactly the same colour throughout. There is, however, an especially good scene which neatly upturns one of the biggest conventions of a hostage drama. The police track down Kyle’s girlfriend, Arlene (Olivia Luccardi) in the hope that she can talk him out of blowing everybody sky high. As she’s heavily pregnant, we’re all set for an emotional plea live on air. It’s not what we get and it effectively punctures everybody’s expectations, on screen and off. But then it’s spoilt by a clunking hint as to how the situation is going to pan out. Anybody would think that writers Jamie Linden, Alan DiFiore and Jim Kouf are Paul Haggis fans, because it’s almost in his league when it comes to heavy handed spoilers. After that, the ending is disappointingly predictable.
As a satire, Money Monster has several targets, but never really hits a bullseye. High finance is the obvious one. The language of the markets is so unfathomable that most people don’t understand it and let the so-called experts get on with it – and get away with it. But, as Clooney points out, it isn’t difficult to get to grips with, it’s just that the banks prefer it to look that way. It also takes a marginally more successful pop at the media and its effect on people. Watch the reactions of New Yorkers as the hostage scenario is played out on TV. Everybody is glued to their nearest screen, regardless of their location – café, office, anywhere. It’s compulsive viewing, live and real. When it comes to an end, the camera is on the café. Count to three and the two guys playing table football beforehand have gone back to their game. Within minutes, everybody seems to have forgotten what actually happened and the internet gets flooded with funny film clips based on one memorable moment from the siege. Are we really that shallow? So it would seem ……
Despite marginally missing its targets and that slightly old fashioned feel, somehow the film holds together better than you might think. Clooney isn’t especially stretched as the arrogant showman, but Julia Roberts is surprisingly good as his unflappable producer, exactly the sort of person you want in your corner. Brit Jack O’Connell is in illustrious company again (last time it was Angelina Jolie directing him in Unbroken): it’s not one of his more taxing roles, but he brings enough to the role to capture your sympathy.
By all accounts, Money Monster received a four minute standing ovation when it was shown at Cannes last week. It’s hard to see why. It falls short as both thriller and satire and, put alongside the other films about the financial crisis, it’s very much in their shadow. Not that it’s bad but, with the talent involved, you expect something much better.
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★ ★
Freda Cooper. Follow me on Twitter, check out my movie blog and listen to my podcast, Talking Pictures.
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Originally published May 24, 2016. Updated November 10, 2019.
