Money Monster Is Cobbled
Together With Parts From Better Films
B Jonas Schwartz
Expectations are high when the credits
roll with such superstar names as George Clooney, Julia Roberts and Jodie
Foster, but Money Monster smashes very easy targets, and though it hits the
bullseye often, it uses a cannon as a weapon.
Tabloid news, the rich eating the poor,
and the poor reaching a breaking point, are all timely, particularly in this
election season, and though Money Monster moves at a breezy pace
with a self-aware, fun performance by Clooney, the movie itself lacks wit,
subtlety or surprises. Director Foster brings none of the quirkiness and
ingenuity that she brought to Home For The Holidays.
Flamboyant finance TV host Lee Gates
(Clooney) and his producer Patty (Roberts) perform just another show, combining
stock tips with flashy graphics and entertaining hip-hop dance breaks. The diva
Gates treats his crew like slaves, and beneath his swagger drips insecurities.
He panics when he has no one to join for
dinner on a Friday night, and feels personally offended that a CEO friend Walt
Camby skipped out on an interview on the show. Camby's company was big news
after a computer glitch the day before caused the company to lose millions in
minutes, and his appearance on the show would have been a coup for Gates.
The program is interrupted by an angry gun
man (Jack O'Connell) who holds the crew hostage and straps a bomb to Gates'
chest.
The terrorist lost his life savings the
day before on Camby's company, and blames both the CEO and the fast food
financial analyst Gates for his troubles. Because the crime is broadcast live, the trauma becomes a national event with people treating the hostage
situation like just another TV show.
The script by Jamie Linden,
Alan DiFiore
& Jim Kouf
contains funny lines, but the writers are unable to drive the story
forward.
The script follows similar plot points
from Mad
City, with Dustin Hoffman, and John
Q, starring Denzel Washington, two films that were unimpressive on their
own merits, and borrows themes that were building blocks for masterpieces by Jean
Renoir, Luis Buñuel and Oliver Stone.
The motivations are obvious, the twists
blatant, and the final half hour defies logic. The script's biggest issue is
turning a man who shoved a loaded gun in someone's face and put everyone's life
in jeopardy into a misunderstood hero by the final act.
Though his character was legitimately
pissed, his actions were far from noble. The script also has issues turning the
cops into anything but trigger happy stereotypes. Obviously the writers were
thinking of Ferguson et al, but turning the force into Keystone Kops was a cop-out.
Foster's direction is oddly paced. She
captures the chaos of live television, but focuses too much attention on
nameless characters with whom the audience never identifies. Also curious is
that Foster chose to have a strong female character caught in an adulterous
relationship with her married boss. It seems out of character for Foster to
undercut a female protagonist.
Clooney adds fun as the buffoon TV star.
Bombastic and histrionic, his Gates adds energy to the film. His frequent
co-star Roberts always has great chemistry with him. Their dynamics and
screwball comedy dialogue are an asset. Outlander star Caitriona Balfe brings elegance
and determination as the corporate mouthpiece who turns detective. Though O'Connor's role is histrionic and
clumsily written, he brings pathos and panic as the everyman who chooses
violence so as to be heard.
The script of Money Monster could have
been a Lifetime Movie in the early 90's starring Heather Locklear and Luke
Perry with no alterations. What
compelled Jodie Foster, George Clooney and Julia Roberts to carry on with this
cardboard thriller is the only mystery worth investigating.
Jonas Schwartz is a voting member of the Los Angeles Drama Critics, and the West Coast Critic for TheaterMania. Check out his “Jonas at the Movies” reviews at Maryland Nightlife.
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