After seeing Money Monster earlier this week, I can confirm that Jodie Foster is well on her way to being one of the good ones.
The film revolves around self-proclaimed financial guru and television host Lee Gates (George Clooney). He fronts the show "Money Monster" and his eccentric personality is funnelled by his longtime director, Patty Fenn (Julia Roberts). However, after Lee gives some bad advice on the stock of a major corporation that causes everyman Kyle Budwell (Jack O'Connell) to lose his family's savings over night, Kyle decides to invade the show and hold Lee at gunpoint, forcing him to find out why the stocks crashed and to uncover a major conspiracy in the process.
Like I said, I really enjoyed the way Jodie Foster has directed this movie. From a filmmaking perspective, Money Monster meshes really well. It is colourful, amplifying the circus-like environment of the show's set while also giving the production a grander feel. The dynamism Foster choses to shoot her scenes with is also impressive as she switches from high/wide shots to close ups with subtle ease, helping the audience to understand the stakes of situation and add depth to her shots, all the while without breaking the viewer's connection with these characters. The TV show setting is also put use, with the perspective of the show's cameras (manned mainly by the film's unsung hero, Lenny the Cameraman) being implemented well and without being overused or coming across as gimmicky. From a visual-filmaking perspective, Money Monster ticks all the boxes.
Yet, the film's plot almost lets this down a bit. The story itself is good and it does try to tackle some important themes, such as the relationship between wealth and power, whether it's right for the poor to blame the rich when life doesn't go their way, and what happens when a man is forced to confront his dilutions about himself head on. Yet it just doesn't hit these points home hard enough. It would be like a musician playing all the right notes but just slightly out of time. The story also does veer off track from time-to-time, with subplots involving Caitriona Balfe (star of Outlander) and Giancarlo Esposito (Gus from Breaking Bad) feeling more like an excuse to take a toilet break, and nowhere near as exciting as the main story. I can't help but feel the film would have been even better than it was if it had stuck to the confines of the studio environment a bit more rather than paying attention to what was going on outside it.
However, minor plot grievances didn't prevent me from enjoying this film and that is mainly due to the stellar acting that was on display. Roberts, Esposito, Balfe and most members of the supporting cast (shout-out to the two high European guys with Yoda voices) give stellar performances, yet it is Clooney and O'Connell who steal the show. O'Connell perfectly portrays both sides of his character: a man pushed to his breaking point and a decent person who wants to make a difference. His character's motivations, while arguably initially selfish, end up being pretty noble and self-sacrificial and the English born actor portrays his characters journey from a gun-raving lunatic to a man with a purpose with such beautiful ease. Only the veteran Clooney can top O'Connell's performance. Clooney is so seasoned at this point that the subtle things he does can go under appreciated. His performance here on the surface may appear to be of a self-obsessed man who has become engrossed in his own fame, but in reality this is far cry from the entertaining role he played in Hail Ceasar. Clooney has thoroughly thought out the character of Lee Gates and he squeezes every bit of comedy and tragedy he can out of it in his performance. He portrays Gates as pathetic, a cringeworthy man who lies to himself daily about his inner-happiness. Take the scoreboard scene in the middle of the film's second act as an example of what the former ER star can do when he lets go dramatically. George Clooney is one of Hollywoods best dramatic leading men, and he reminds us why here with a powerhouse performance which many will take for granted.
Overall, Money Monster is a good film that raises the stock (pardon the pun) of all the people involved in the making of it. It announces Jodie Foster's arrival as a director to be reckoned with after years in the wilderness, it continues what could turn out to be a banner year in the career of the George Clooney after yet another standout performance, and it also features note-worthy performances from all of its supporting cast. The story is best when it focuses what's happening inside the studio and not outside it, with the chemistry between the two leads being the film's main spark. Other sub-plots do fall flat at times, but the filmmaking elements are so strong that Money Monster can be forgiven for the minor failings it makes in its story.
Score: 8.2/10
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