Money Monster

Jodie Foster has once again taken to directing with her fourth feature film Money Monster. A part-comedy, part-drama starring George Clooney and Julia Roberts, this financial thriller promises a lot, but doesn’t necessarily deliver.

Lee Gates (George Clooney) stars as the financial guru of cable television, on his show ‘Money Monster’. During a live filming, his show is ambushed by Kyle Budwell (Jack O’Connell), who holds the studio at gunpoint, demanding that they don’t cut the live feed. Lee is strapped into an explosive vest as Kyle demands to know why IBIS Clear Capital, a company that Lee had personally recommended as “safer than your savings account”, had just lost $800 million in stock value due to a “glitch” in its trading algorithm. In what will surely be the worst day of show director Patty Fenn’s (Julia Roberts) professional career, those inside the studio struggle to take control of the situation and meet Kyle’s demands before he sets off the vest.

The film opens with a sequence that brings together the intense critiques of journalism and media from films like The China Syndrome and Network, with the cha-ching of recent financial satire films The Wolf of Wall Street and The Big Short. As such it’s difficult from the get-go to see how Money Monster is going to find its own path. The film effectively has two interweaved acts; one following the events that take place in the studio, and one on the reactive events that occur outside. The former scenes work really well, there’s a palpable tension as Patty tries to use her directorial skills to control the situation, where Lee prefers to cut through it with his blunt sarcasm and asides. However as soon as we cut away to the exterior focus, the manipulative side of the film rears its ugly head and starts to throw all sorts of moral messages at us.

The film pleads with us to pick an antagonist; is it the guy with the gun, Kyle? Is it the arrogant opportunist, Lee? Is it Wall Street? It’s trying to find a black and white answer to a very murky question. As the film rolls on, we’re placed in a tense race to either see the rapidly escalating situation put under control, or find out who’s responsible for the system ‘glitch' - the answer to which reveals itself too soon thanks to some blatantly-foreshadowing dialogue: ’I got you some chocolate….from Switzerland’ *dun dun duuuuun*.

A more interesting premise, which thankfully doesn’t get put under the moral magnifying glass like so much of Money Monster, is the battle to humanise Lee Gates in the ninety-minute running time, a man so initially out of touch with the world that he has a gold-embroidered dancing troupe to help him announce the stocks to keep an eye on...that’s showbiz folks. It’s very easy to place all the blame for Kyle’s situation on Lee, and it’s certainly partly the fault of his over-the-top spruiking, but as more is revealed and we get a better idea of the bigger picture, Lee starts to look less devious, and more like a charming village idiot, who actually takes some responsibility for his actions. Although to be fair that could be more to do with George Clooney’s performance, I hear he’s irresistible.

We also get a well-developed performance from Julia Roberts, who I must admit I’ve struggled to watch in many previous roles. Here however, she has just the right amount of sass to shoot down Lee’s remarks, a nuanced understanding of how to approach the situation and the occasional hint that, like everybody else in the studio, she’s quaking in her boots. Jack O’Connell also steps up his game from his performance in Angelina Jolie’s Unwatchable Unbroken and we get the invaluable pleasure to see Giancarlo Esposito on screen again, in what sadly becomes a rather banal cop role. What’s more, for the roles outside of the studio, the underwhelmment (which should definitely be a word) is par for the course. As soon as we leave the tense studio environment, be it for a quick cutaway or for the path that the story takes, the film becomes too focused on delivering a message, and loses the satirical-thriller element that sets it apart from whatever else is playing this weekend.

Money Monster does well to recognise its strengths, namely Clooney, Roberts and the satire/thriller blend. However, all too often it oversteps its bounds and starts to preach its message without the finesse required, or the content to back it up.

Robin Williams Tribute Month: Hook (1991)

Only Steven Spielberg could make a live action sequel to the Peter Pan tale that almost lives up to Disney's animated classic, and after viewing, it's almost impossible to imagine anybody other than Robin Williams in the leading part.

Peter Banning (Robin Williams) is a successful lawyer whose relationship with his kids, Jack (Charlie Korsmo) and Maggie (Amber Scott), is on tenterhooks due to his busy schedule and inability to see things from their perspective. The family are on their way to London so Peter can deliver a speech in honour of his wife's grandmother, Wendy Darling (Maggie Smith), who helped Peter find a family when he was an orphaned child.

However, whilst they're out for the evening, Peter's children are kidnapped by Captain Hook (Dustin Hoffman), a scheming pirate and Pan's enemy. Eventually, Tinkerbell (Julia Roberts) turns up to take Peter, who has forgotten that he is really Peter Pan, back to Neverland to beat Hook and save his children.

Written by James V. Hart (Bram Stoker's Dracula, August Rush), the film has an interesting take on the Peter Pan story arc, taking him away from Neverland and letting him grow up, so that he effectively has to start over again to prepare for his fight against Hook. Generally, it's a good script that is creative in the direction it takes the characters and never fails to amuse. However watching it back again all these year later, I would have preferred it to be a bit shorter.

This film has a great cast of actors that fill the roles very naturally. Maggie Smith may slightly overact the elderly lady gestures and tones, but she's still believable, and whilst I might find personally find Julia Roberts a bit annoying, she's great as Tinkerbell. Then there's the late Bob Hoskins, possibly the most cockney man who even lived, who makes the most perfect Smee imaginable. Though if anybody equals or even surpasses Williams in Hook, it's Hoffman as the titular character. Captain Hook's terrifying, barbarous charisma is brought to life more by Hoffman here than even Hans Conried in 1953, and he had animation to help him!

This is one of those roles that seems to fit Robin Williams perfectly. As an adult Peter, he may have grown up, but Williams' energy brings the inner Peter Pan out. His sense of humour comes through too when he's delivering all the great one-liners that are spread throughout. Though playing totally different characters, his performance here is quite reminiscent of some of his other children's films such as Jumanji and Patch Adams.

Ok, so this film certainly has it's issues, not the least of which is it's 2 Hour 20 minute running-time (for a children's movie? seriously?) but it never fails to be enjoyably childish and fun, which is what Peter Pan is all about right?

August: Osage County

Over the years, I have always wanted to see a classic film when it first arrived at cinemas, be it Pulp Fiction, Taxi Driver or Casablanca. With the release of August: Osage County, I feel as though I have had that opportunity. With a fantastic cast, extremely well written script and superb direction, I find it hard to fault this film.

It follows a family from Oklahoma who have come together for the first time in years because their father Beverly (Sam Shepard) has gone missing. Their mother, Violet (Meryl Streep), is an abrasive woman who is addicted to prescription medication. The three daughters, Barbara, Ivy and Karen (Julia Roberts, Julianne Nicholson and Juliette Lewis, respectively), each with their own problems, come together to try and comfort their mother.

For a film with a lot going on in terms of story and sub-plots, everything is presented quite clearly and this comes down to Tracy Letts' brilliant script (he also wrote the award-winning play on which the film is based). It's never hard to keep track of everyone's story and every plot element is resolved without being dismissed too quickly.

John Wells direction is also very evocative. He brings out stellar performances from his entire cast and shoots each scene in an extremely planned way. One of the major scenes in the film revolves around a family dinner and it is shot in such a way that the audience is gripped for the entire duration.

The two standout performances come from both Meryl Streep and Julia Roberts. Streep is amazingly witty, yet at the same time sharp-tounged, as the matriarch of the family. It is definitely a standout role for her in her recent career (even though her recent career has been full of those). Julia Roberts has come a long way from the roles that she played early on (both Runaway Bride and Pretty Woman were terrible in my book). She is excellent as a long suffering daughter who just wants to be done with her family.

Verdict: A fantastic family drama that is surprisingly funny. Stellar performances from both Streep and Roberts.