Mo Money Mo Problems: Review of Money Monster

Money Monster

Director: Jodie Foster

By Alex Watson

While it may lack a certain bite, Jodie Foster's Money Monster is still a fine satire that raises some serious questions about Wall Street Ethics. It doesn't break any new ground it does have an element of fun silliness to it which is capped by a wacky yet composed George Clooney performance. While The Big Short went for the flashy approach, its talk about markets and algorithms because overwhelming. Foster here asks the simple question of how does these millionaires who break the law stay out of prison?

Lee Gates (George Clooney) is a smug host of a network show called Money Monster which gives Wall Street stock tips to viewers. His producer Patty Fenn (Julia Roberts) is weary of his shock-jock persona and wishes he would button it down. One show, a desperate and furious blue collar worker Kyle Budwell (Jack O'Connell) takes Gates hostage live on air and forces him to strap on a bomb. Previously Kyle along with many others lost his life savings on a bad tip by Gates on a company called IBIS owned by Walt Camby (Dominic West) and now he wants Wall Street to pay.

While Money Monster doesn't completely work as a thriller, it still has its merits. Gates is a man who lives for the spotlight and begins every show doing cringeworthy dancing with two backup dancers. When Kyle bursts in and forces him to strap on the vest, Foster manages to inject a needed panic into this scenario. Forget the implausibility that Kyle could sneak in undetected along with this question of whether a truck driver could really build a bomb and go with the flow. Patty is boxed into a difficult corner and the police intervention by Captain Marcus Powell (Giancarlo Esposito) isn't helping a whole lot either.

Previously Gates coerced his viewers into investing with IBIS claiming it was safe. Now the firm has mysteriously lost $800 million in one swoop and Camby is nowhere to be found. Venn and some other producers embark on some investigating to discover to why this sudden dip occurred. This element is entertaining as they continually bug put upon PR lady Diane Lester (Caitriona Balfe). Although this film has its merits it doesn't feel nearly challenging enough, we are aware through Kyle constant explosions about how unaware it is that rich men frequently break the law but go unpunished. Foster, however, seems to want to play it too safely and it leaves us with a flat aftertaste.

While the against time feel does serve Money Monster well, its finale has an air of unbelievability about it. The lies are always being exposed as Camby real destination for the last few days is picked at. There is a more honest approach to this picture than your typical Wall Street picture because it does show the dark underbelly of the trade world. Stripping it back to basics and show a simple story of good guys and villains do make this an easier pill to swallow. Just a shame that Foster decided to go with a slightly overblown ending which sees Gates and Budwell attempt to take on and confront Camby publically. Realistically this whole show would have been long done by this point if the police were allowed to do their thing.

George Clooney has fun with the role of Lee Gates and keeps his head among the increasingly unlikely odds. Embracing his character's arrogance combined with his inner self-loathing, Clooney makes the perfect choice to bring this tale of greed forward (even if his dance moves do need a little work). The real star turn of this piece goes to Julia Roberts who keeps her performance in check as the tension mounts. Not once does she succumb to the urge to phone things in and instead Roberts give a composed turn as a newsroom producer whose in far too deep. Jack O'Connell is a talented performer but he is stranded in this picture with a role that requires him to do little more than shout loudly. With such a raw performer on her hands, Foster could have coaxed out far more than this.

Money Monster might not be the gritty thriller we so hoped for but it does succeed as a witty and zany look at the effects Wall Street can bring. The Big Short may have gotten accolades for its trickery but this piece is more down to earth effort.

Age of Empires: Review of Hail, Caesar!

Hail, Caeser!

Directors: Joel and Ethan Coen

By Alex Watson

Once more the Coen Brothers turn towards Hollywood's Golden Age in their picture Hail, Caesar! Making great use of constant star cameos, this makes for a great satire picture. Running a major studio can bring all kinds of headaches and there are smart nods to the scandals involving such greats as Clark Gable and Esther Williams. Set against the backdrop of the Cold War where suspicions were heightened and showing the studio system beginning to break down the Coens return to this land is a success.

Eddie Mannix (Josh Brolin) is a 'fixer' for Capitol Pictures who has just run into a major problem. Hail, Caeser! is set to be their biggest picture of 1951 starring Baird Whitlock (George Clooney), the problem is the actor goes missing and a group called 'The Future' is demanding a ransom. Eager to get back Whitlock before all hell breaks lose, Mannix must also deal with pregnant star DeeAnna Moran (Scarlett Johansson) and struggling cowboy actor Hobie Doyle (Alden Ehrenreich).

Although Hail, Caesar! is filled with different story lines, somehow it manages to juggle them all without dropping the balls. The scandal and scare-filled nature of the 1950s are present and correct and Mannix has hands full dispelling rumors. The Coens in their film studio world are able to give nods all kinds of productions such as cheap westerns, well choreographed dance films and lavish aqua themed sets. The kidnap plot is almost secondary to everything else, who precisely are The Future? The big reveal shouldn't surprise many but the bickering between numerous intellectuals will for sure entertain. Mannix knows he has a headache on his hands because Whitlock is known for his binges and affairs but this one might be beyond his control.

The hints towards different scandals show off the Coens movie buff knowledge. DeeAnna wants to adopt her own unborn child to avoid a scandal while Hobie is struggling to play a straight role in contrast to his usual 'singing cowboy' job. Ralph Fiennes shows up here as the thespian director Lawrence Lorenz and incredibly gives a masterclass in comic relief attempting to direct his undertalented star. Also, there is the issue of power hungry identical twins and Thora and Thessaly Thacker (both Tilda Swinton) who are both Hedda Hopper type gossip columnists. With cameos popping a mile a minute including Channing Tatum as Gene Kelly type musical star and Jonah Hill as a cynical surety agent, the Coens are having a blast.

While Hail, Caesar! sings and dances well, there is also the issue of too many cooks spoiling the broth. The third act is possibly the weaker the picture and while it is typically random and unpredictable it perhaps doesn't completely satisfy. However, this is a minor blemish on the Coens good work and they succeed in keeping us entertained. Their ability to be able to hop between both deathly serious and light as a feather touches has really marked them out over time. Delving back into the scandal and red threats of the olden days has been the picture spark into life. Mannix may be always questioning his life, but he cannot function without the thrill of the unknown.

Josh Brolin makes for an engaging and capable lead, his dour yet excitable edge makes Mannix come alive. Smartly linking his guilt for continually abandoning his family for the chase to this devout catholicism, Brolin is the very presence the Coens need. Supported ably by George Clooney who is a wonderful mix of arrogance and cluelessness, his Baird Whitlock is a great nod to leads such as Kirk Douglas. His gradual reawakening to a new found cause sets him on a slippery slope. The real star of the picture is Alden Ehrenreich because easily he matches the big stars blow for blow and comes out with the pictures strongest performance. Hollywood take note of this one.

Hail, Caesar! may not win the battle of the box office against Deadpool or Zoolander 2 but it is still a funny and smart picture that deserves your attention. The Coen Brothers are always unpredictable, who knows what era that will focus on next time?

The Masterplan: Review of Our Brand Is Crisis

Our Brand Is Crisis

Director: David Gordon Green

By Alex Watson

On paper Our Brand Is Crisis should have been a winning political comedy, but despite a fine cast the story just doesn't ignite and the needed tension is sorely lacking. Needed an added bite, the script by Peter Straughan fails to make full use of the interesting satire it has at its disposal. Director of stoner comedy The Pineapple Express and the innuendo filled Your Highness, David Gordon Green was a surprising choice to helm this. Although he shows that his work can go surprisingly deep, Green sadly misses the target. 

Jane Bodine (Sandra Bullock) is a political strategist who has gone into seclusion after some widely covered personal errors which gained her the nickname 'Calamity Jane'. An olive branch is extended to her when she recruited by Ben (Anthony Mackie) and Nell (Ann Dowd) to help out with a political campaign in Bolivia. The candidate Pedro Castillo (Joaquim De Almeida) is out of touch with his public and behind in the polls. The real tempting reason is the chance to get one over on her former rival Pat Candy (Billy Bob Thornton) who is heading the campaign for the opposition.

In some places David Gordon Green does succeed in making Our Brand Is Crisis shine, one sequence where Jane gets drunk with some locals raises the most laughs. The faults of this picture are not obvious but the story is the biggest fault with the story. Jane's past is not nearly touched upon as much as required and we never get a full sense of her inner conflict. Likewise with her relationship with Pat Candy, referred as a "Sicilian Blood Feud" by Rich (Scoot McNairy). This love/hate relationship is not explored and there is a lack of brooding hate which makes their encounters undercooked.  

Politically the story could have been an interesting one as Castillo has already been President of Bolivia before and when he did his privatizing of industries didn't go down well! Electing him to office again is a seemingly impossible task. Being produced by Grant Heslov and George Clooney, you would expect so political depth and perhaps so good commentary on the Bolivian economy. Green sadly only brushes over this area and despite rumours of the country having a possible IMF bail out which could cripple the poorer regions, we are left to wonder exactly what the game plan is? Resurrecting Castillo's campaign does offer some rib tickling injections of humour- Llama gets run over while making commercial, leading Jane to muse "It's like he killed himself rather than appear in our commercial!" Other than these brief glimpses of hope there is a stale after-taste. 

Morally there is a problematic centre about its chief characters as Jane is continually self loathing over the people she chooses to serve. At the beginning we get a sliver of her convoluted persona as she tell us how she believes in getting the vote and not wondering about the politician himself. Jane like others in her field is a gun for hire who after fighting the good war shall just locate the next battlefield. Earning the nickname 'Calamity Jane' has hurt her deeply and she is now far from home attempt to resurrect herself for a cause she maybe doesn't full believe in. There is a big sense of hurt and betrayal on both personal and business levels during the climax. Although the sentiment rings hollow and it feels ever pushed upon us, it does leave our brain cells ticking. 

The principle strength of this picture comes from the strong central turn from Sandra Bullock. Breezing through the movies problems like they are nothing at all Bullock makes great use of her comic timing. Despite having little to work with she easily dominates each scene she appears and becomes this movies main selling point. A woman forever  since her 2009 Oscar win, Sandra Bullock is now in definitely contention for another nod. 

Our Brand Is Crisis really should have been a far stronger and more satirical effort from David Gordon Green but his want to make this centuries Wag The Dog hasn't come to fruition. Lord know what would have happened if he cast James Franco and Danny McBride? 

Movie Plot Concepts Better Than Finished Film

In Time 

Andrew Niccol's futuristic thriller could have been a great re-doing of Logan's Run had it played its cards right. The concept that in years beyond that time literally is money was one that kept the story moving. But the whole idea that one ages past 25 was a little difficult to swallow, could you believe Olivia Wilde was Justin Timberlake's mum? The main catalyst was the flawed transition for a story of survival to being almost a crime thriller. After an engaging first act we were left with a deflated after effect. It was a shame because on the original idea alone, Niccol could have had a winning horse.

Equilibrium

Setting a story in a world (no Don LaFontaine pun intended) where a totalitarian governments rules supreme and humanity is forced to pacify all emotion was an intriguing one. The game changer here was the unfortunate wayward direction from Kurt Wimmer. Its introduction of the fictional karate/gun shooting style 'Gun Kata' made for thrilling and off beat viewing. These sole moments breathed life into what a movie on life support throughout. Tragically what started as a wonderful and thought provoking concept descended into a mindless action movie. Still it makes an interesting double bill alongside The Matrix though.

Hancock

What could have been one of the more memorable superhero comedies was somewhat hashed by director Peter Berg.  Will Smith gave us a few laughs as drunken hero, Hancock but its confusion over its formula style led to mixed result. Berg seemed to be on the fence about whether this was a comedy or a drama? This indecision meant that many laughs were lost in a haze and its never quite got to grips with itself. Originally intended to be stretched over two installments, the decision was made instead to mash it together in one movie. The great late movie twist is revealed too early and lost any effective touch it could have brought.

Prometheus 

The principle issue with this movie's build up was that it was expected by many Alien fans to be another series installment. When it was revealed as a whole new concept, this led to cries of despair. Despite have a potentially great build up to finding out about the Xenomorph's origins, a poor script and some blurred lines of story let the side down. Ridley Scott attempted his best to bring a positive spin on what is a visual effects masterclass. But no amount of sparkle and a fine Michael Fassbender android turn could mask the fans disbelief.

The Men Who Stare At Goats 

When the trailer for Grant Heslov's comedy first debuted, it looked a sure fire hit. His idea of a journalist (Ewan McGregor) following a former psychic spy (George Clooney) and learning the secrets of his life less ordinary seemed a ready-made idea. Disappointingly what followed was a rather drab and flat finished product that failed to live up to the hype. Heslov's movie has some great individual moments and a stunning supporting cast. Despite this it failed to cross over into the critically acclaimed section.

Top 5 Movie Escapes

The Shawshank Redemption

The most iconic escape on this list see Andy Dufresne (Tim Robbins) conduct what is the most unlikely plan. Who would have thought that scraping a wall with a rock hammer would prove so effect? Well that and a giant poster. But Andy's break for freedom is picnic, just listen to the Morgan Freeman narration. However, as we see the famous image on Robbins stood bare chested in the rain, it is a moment that uplifts our hearts.

The Silence of the Lambs

Hannibal Lector's (Anthony Hopkins) escape from Memphis Police Custody is by far the most terrifying on the list. What starts as a routine check becomes something scary as hell. Who would have thought the most banal object could have the biggest effect on lives? What comes afterwards though, is clever trickery by director Jonathan Demme. "After you Sergeant Pembrey!"

The Great Escape 

 One of the 1960's truly great escape plans sees the Allies outsmarting their German captors at every turn. Seems their idea to put all the great escape artists into one camp was one that backfired spectacularly. But of all the various escapes on show, it is Virgil Hilt (Steve McQueen) and his daring motorcycle ride that amaze the most.

Ocean's Eleven

The finale of Steven Soderbergh's excellent remake is one to savor 14 years after release. The thing that makes this robbery so memorable is the misdirection that fools Bellagio owner, Terry Benedict (Andy Garcia). His quiet horror at realizing just what video tape he has in front of him sets up a cunning dupe by Danny Ocean (George Clooney).

Raiders of the Lost Ark 

Steven Spielberg started this legendary franchise with a bang back in 1981, and his breathtaking opening still stuns us to this day. Watching Indiana Jones (Harrison Ford) risk life and limb to recover his precious artifact whilst the entire temple shakes is death dying stuff. But just when you think he safe, the ultimate challenge arrives- a huge rolling boulder!

Way of The Future: Review of Tomorrowland

Tomorrowland

Director: Brad Bird

By Alex Watson

So what exactly is Tomorrowland? That is the answer that movie fans have been seeking ever since the first teaser trailer hit. Well director, Brad Bird has brought us into a fascinating and visually arresting world. Along with co-writer Damon Lindelof, the story we are given is one that is funny and packed with interesting and provoking thoughts. Based against the theme of time, we are left to wonder what lies beyond in other dimensions. But importantly it poses some insightful theories of the future of humanity!

When teenager Casey (Britt Robertson) receives a strange button, she is briefly transported to another world called Tomorrowland, which is far different from her own. From this encounter, she will find herself coming into contact with teenage 'recruiter' Athena (Raffrey Cassidy) and a grouchy old scientist called Frank (George Clooney) who may just hold the key that they need to return to this land of wonder.

Capturing a rare sense of childhood wonder, Brad Bird succeeds in early on drawing the audience's attention and refuses to let it go. Beginning in 1964, when a young Frank makes a life changing visit to the 1964 World Fair, he is soon transported to Tomorrowland. Here is sets him up on a life changing encounter with leader David Nix (Hugh Laurie). But for reasons unknown we learn that he has been exiled from the world and has since shut himself away. By denying the world his knowledge, things are beginning to look bleak and a myserious countdown clock is constantly ticking. Casey in some sense, is the child that Frank was many moons ago. One who still believes in the possibility of the world improving and still feels wonder about what she is able to see.

All throughout this picture, there is a feel of an almost 80's blockbuster and Bird forgoes any type of dark feeling. Interestingly, there is never a clear cut villain and Bird keeps the possibility in the air that any one (including Athena or Frank) could well be an enemy. But smartly, the rug is pulled out from under us when the current Tomorrowland is presented to us. From here, there is a bleaker cloud is pulled over proceedings. Rather than bury the remainder of the film in self pity, Bird and Lindelof through one well scripted monologue from Nix bring about some interesting questions about the human appetite for chaos and destruction.

However, even through this is bright and shining adventure, it sadly beginning to run low on fuel in the final stretch. The principle issue with Tomorrowland is that apart from the grabbing visual aids, there is a gaping hole story wise. Casey's relationship with her NASA engineer father, is one more talked about than shown. Likewise Frank's fractured past relationship with Athena, we know that they had a falling out long ago, but we have only whispers and theories as to what actually happened. The real firing pin of the movie, is how Casey is single handedly allowing Frank to recaptured the hope and faith that he once had as his younger self.

Britt Robertson proves to be a real find as Casey and she allows the movie to revolve around her sense of likeability. Sporting a good sense of comic timing mixed with old fashioned optimism, Robertson makes Casey a fine Disney character. One to watch in future years, it is hard to believe that this lady is already 25! George Clooney is also in fine form as the grumpy old sod Frank, his loss of innocence and wonder works wonders and he is basically a project for Casey to remould back. Always a presence on screen, it has been some time since George has graced this type of blockbuster!

There are some minor gripes that some will have about Tomorrowland, but it is a picture that impossible to hate! Sporting some of the bright and breezy Disney feel of old, it is the first summer picture that is guaranteed to make both kids and adult smile!