'MONEY MONSTER' REVIEW

Release Date: Friday the 27th of May (UK Release)

Directed By: Jodie Foster

Written By: Jamie Linden and Alan DiFiore

Starring: George Clooney, Julia Roberts and Jack O'Connell

Distributed By: Tristar Pictures

At a time when the bashing of Wall Street seems to be ever present in some form at the cinema, with the likes of Adam Mckay's biographical comedy 'The Big Short' receiving multiple accolades this year, what a more appropriate time for Jodie Foster to shake up her previous work by adding Political Thriller 'Money Monster' to her portfolio.

Beginning in the hectic and fluid world of daytime television, we are introduced to Clooney's energetic host Lee Gates, star and face of somewhat trashy money show 'Money Monster'. Remniscent of something dreamed up by Donald Trump, the highlights include Jordan Belfort esque explanations on the stock market jarred with the occasional burst of scantily clad ladies (Classy right?). Overseeing the entire broadcast is studio director Patty Fenn (Roberts) whom is on the final few days of work before moving to another company. The show is somewhat quickly halted by the arrival of manic gunman Kyle Budwell (O'Connell) who arrives with a burning temper and a home made bomb vest. With a recent investment gone awry, Budwell wants answers as Gates and himself race to get the answers, before the authorities can resolve the situation. 

From the opening scene, it is quite clear that Clooney is thoroughly enjoying himself in the role with effortless manor as he exudes charisma, paired with the borderline cliche of a man who appears to have everything but the little things that make it all worthwhile. The front which we see during the live broadcast however (reminiscent of De Niro's Rupert Pupkin in Scorsese's 'King of Comedy') quickly evaporates with the arrival of O'Connell's Kyle who soon pushes past the predictable highly strung everyday man to soon represent the pent up frustration of an entire class. Displaying the snarling aggression present in one of his earliest leading roles 'Starred Up', O'Connell also attempts to hit the empathetic punches of Pacino's Sonny in 'Dog Day Afternoon' (A clear template for not only his character but also the thematic construct of the narrative) with questionable effect. 

Roberts' overseeing of the entire event unfold primarily from the confined space of a control room has little to no screen time with the two leads but by no means has less involvement, speaking to Gates via an earpiece, she quickly takes to the situation as her position would entail and begins to direct the scenario unfolding as though it were just another day at the office, bringing to mind the performance of Faye Dunaway's Diana Christensen in Lumet's Newsroom satire 'Network'. Supporting this hefty cast is Giancarlo Esposito, here very different from his magnetically menacing performance as Gustavo Fring in Breaking Bad as the officer in charge of the hostage rescue situation. Domonic West also appears as the head of the company who's stock crash has caused this entire palaver, compiling all the predictable tropes of a less than three dimensional corporate stooge. 

In her somewhat short list of previous work, Foster has tackled a range of thematic constructs with the likes of her previous film, the tonally trust up 'The Beaver' looking at the heart of depression with a somewhat quirky twist, along with the internal struggles of a single parent trying to do whats best for her genius son in her 1995 debut 'Little Man Tate'. In 'Money Monster' however, Foster aims to tackle less intimate themes and for the first time enter the realm of satire.

Despite its somewhat threatening premise, 'Money Monster' flows with unpredictable and at points jarring comic beats, the set up of Lee Gates' titular show a prime example. The message is nothing particularly groundbreaking, indeed certain beats seen decades ago in the likes of 'Network, with the publics desensitisation to lives at risk and the prospect of a man being executed on live television. The ideal of one individual representing the ideals of thousands is also a common trope in modern cinema though in my eyes championed by Pacino’s performance in ‘Dog Day Afternoon’ which O’Connell’s performance never seems to reach despite great effort. The final and possibly most important theme of corporate greed being a despicable act (Duh) is undoubtedly clear at the crux of the narrative but makes for a somewhat predictable payoff in the third act. 

All things considered, ‘Money Monster’ has nothing new to say on a thematic level, but the execution of the narrative progression makes for an entertaining and at times thrilling watch. With all performers bringing their all with what they are given, Clooney and O’Connell’s onscreen chemistry is apparent and I hold out hope for a future collaboration of some form. For me however its Roberts’ headstrong and sharp witted Patty Fenn who stands out whilst not being in the midst of the chaos yet is utterly somewhat in control the entire time. Whilst not an entire success, this stands out as Foster’s best directorial work so far and holds promise for more collaborations between O’Connell and Clooney.

"They literally own the airwaves. They literally control the information, but not today" - Kyle Budwell