During the early days of World War II, the fate of Western Europe hangs on the newly-appointed British Prime Minister Winston Churchill, who must decide whether to negotiate with Hitler, or fight on against incredible odds.
Kristin Scott Thomas
Double crosses, adultery, murder, mistaken identity, and revenge ensue when a mysterious power player and his sultry wife hire a disgraced Los Angeles property broker to discreetly market and sell their Malibu villa.
Rome, 1973. Masked men kidnap a teenage boy named John Paul Getty III (Charlie Plummer). His grandfather, Jean Paul Getty (Christopher Plummer), is the richest man in the world, a billionaire oil magnate, but he's notoriously miserly. His favorite grandson's abduction is not reason enough for him to part with any of his fortune. All the Money in the World (2017) follows Gail, (Michelle Williams), Paul's devoted, strong-willed mother, who unlike Getty, has consistently chosen her children over his fortune. Her son's life in the balance with time running out, she attempts to sway Getty even as her son's mob captors become increasingly more determined, volatile and brutal. When Getty sends his enigmatic security man Fletcher Chace (Mark Wahlberg) to look after his interests, he and Gail become unlikely allies in this race against time that ultimately reveals the true and lasting value of love over money. Written by
Christopher Plummer claimed he was prepared to replace Kevin Spacey as J. Paul Getty on short notice because he had previously been considered for the role and had read the script. He had less than two weeks to memorize his lines, but did have the advantage of having met Getty in London at a couple of his parties during the 60's. See more »
When the family of J Paul Getty II goes shopping in San Francisco in what is supposedly 1964 according to the captions leading up to the scene, there is a maroon first or second generation Mercury Cougar in the parking lot of the store. The earliest Mercury Cougars were released for model year 1967.
Also (this is not a goof), one wonders how a family that is supposedly tight financially could have an eight year old Chevrolet Wagon in such straight and clean condition with no faded paint, dents or missing parts visible. See more »
This film commits the worst sin a film can commit: It is dreadfully boring. It feels ultimately pointless and dwindles on mediocrity at all times, making this an even worse Ridley Scott film than Alien: Covenant, as that film was at least hilariously bad at times. This one nearly put me and my buddy to sleep.
At 2 hours and 12 minutes, this film spends much time meandering and padding out its running time with repetitive low-energy diversions and failure is too often consequence-free. The protagonists feel ineffectual and the baddies feel incompetent and nonthreatening as a result, and the vast majority of the film is people talking back and forth with awkward lengthy pauses in their dialogue. This story isn't all that interesting enough to justify the length, and feels like a formality of Ridley Scott at this point. If you give me a taste of suspense and then show me that this happened over the course of months I will believe you. You don't have to present it in real time.
The film's portrayal of the Getty family "as only obsessed with wealth," as Ariadne Getty put it upon seeing the film, is not necessarily based on fact. Sure, J. Paul Getty does state his love for his bloodline throughout the film, but it is heavily weighed against with his cold attitude to the situation and an incredibly cheesy "gotcha" moment where Getty appears to be negotiating the ransom only for it to be revealed he was simply negotiating the price on a piece of artwork. It's as basic as these ironic Hollywood anti-Capitalism stories go, where the lack of humanity is cartoonishly exaggerated. I probably would have come up with something like this back when I was an angsty teenager who knew everything about the world.
J.'s portrayal isn't the only problem though. Practically every character comes off as shallow and one-dimensional, especially the kidnapping victim, John Paul Getty III, who as a teenager is immediately portrayed as a needlessly ungrateful git towards his mother, and thus I didn't feel attached to him as a character, which is a shame since it's based on a real person. Fletcher Chase comes off as terribly incompetent right out of the gate as the movie doesn't spend much of its excessive time portraying his detective work on screen and simply shows one brief interaction which leads him confidently to a wrong conclusion based on no solid evidence.
I wanted more humanity and more depth to the characters. There were interesting ideas brought up, such as the issue of paying a ransom encouraging further kidnappings, which is unfortunately just a one-time throwaway line despite being a rational concern.
If you are curious about this event, do yourself a favor and read up on it instead of watching this drawn out lazy Oscar bait. Ridley Scott is so hit-or-miss nowadays that I wonder if even the original Alien film was only accidentally a masterpiece, much like M. Night Shyamalan with The Sixth Sense, Joel Schumacher with Falling Down and Neill Blomkamp with District 9.
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