Money Monster

I contemplated why I shouldn’t give this movie five stars. It may give you the feeling of being seen a hundred times but if it keeps you in suspense for almost the whole movie, it is proof of quality. I would certainly also praise the premise, which appeared to be another one of the hyper-modern techno thrillers from the world of money initially only for it to become a completely simple and straightforward suspenseful movie that reminded me for the full one hour and a half of Phone Booth by Joel Schumacher. But it reminded me of it only because I couldn’t tear myself away from the TV. And if that’s the case, what other thriller deserves a better rating than this one? (24/12/2016)

A much over-used and tired fight movie that impresses only in the way it manages to combine several thematic relics from different times into a single whole. Namely, the illusion of the omnipotence of television, the Occupy syndrome, the cunning bankers who cannot be brought down except by popular grassroots justice, or the common folk connected by a television screen in the upper corner of a room in a cozy bar. Although it manages at times to update the entire framework by punishing the main capitalist with an internet meme or deliberately knocking itself down a level in a joyous video conference scene with the knocked-up moll of a young terrorist, the final climax with its endlessly incompetent police, chanting people, and epilogue fist in the air in the face of a criminal bourgeois quickly reminds us what kind of film museum we are actually in. (20/10/2016)

I like that it takes place in a small space and that it's primarily a film that wants to captivate and entertain the viewer. However, it's also a film that shows the problems within society. It's depicted quite naively and superficially, but then there are words spoken that are terrifyingly true: "What can you do to me?" "What have I actually done that's illegal?" (05/09/2016)

Money Monster is thriller with a nice concept but a weak dramatic drive. The emotional ending is impressive, but everything before that is neither as engaging and dynamic as in Ron Howard’s Ransom nor as cleverly plotted as in Spike Lee’s Inside Man. What it is, though, is as forgettable as Costa-Gavras’s Mad City. I am surprised that someone as ambitious as George Clooney agreed to produce this. Maybe he relied on the director’s more personal input (and talent). (09/08/2016)

I guess it's on the level of Mad City – nothing too original or surprising, but a well-acted and seamlessly shot film with a good concept. George Clooney and Julia Roberts are one of those dream acting duos and would draw attention to practically anything, so it's a good thing they don't waste their star potential. As for the script, I liked that everything took place in real time and I enjoyed all the black humor and satirical quips. (24/03/2019)