Money Monster — Blue Fairy Film Blog

Almost through fate I have watched a politically motivated thriller that does everything right that Miss Sloane did not: it frames the conspiracy in a tight runtime, the issue at hand is based on real world politics but remains creatively vague, and the actual film is entertaining and not astringently patronizing. Money Monster is a swift and calculated thriller that stars the always dependable George Clooney and Julia Roberts, as they deal with a hostage situation on live television that begets the unravelling of a mass conspiracy, all in a lean 98 minute runtime. Directed by Jodie Foster, in only her fourth effort thus far, it may be her best film to date.

Money Monster, the actual show that this film operates within, is based on the addictively crass persona of Jim Cramer of Mad Money, a show that prods Middle America to invest in corporations and entities that may lose some, or all, of your money. While it’s admirable that this film would poke fun at the antics of Cramer, a man who has definitely over exaggerated stock tips viability, there’s no true satire or condemnation. As a thriller, this works to its advantage, because to operate a plot with a mass of social commentary attached can be cumbersome. The film is entertaining because it doesn’t unpack the issues at hand.

Playing devil’s advocate, the film does fail at being a commentary on Wall Street, and if that bothers you, this will not be enjoyable. I understand why that would upset viewers, but honestly that is not what this film is. It’s not Oscar bait, it’s not the film that will change the way you view the financial businesses of America. We already got that film in 2015 with The Big Short and this year with The Wizard of Lies. If you want a strong condemnation of ill-gotten gains, look to those films, not to this one. If you want pure, plot-driven thrills, this is the film to see.

Overall, I would say you get what you expect. Political thrillers are a dying breed, because they have to balance the real-world (which is a garbage fire thanks to our present POTUS) and the mechanics of a good plot. That’s honestly impossible, and for this film to do well, or even exist, is a testament to its writers, directors, and cast. The genre is completely doomed, another casualty in this strange world we’re all trying to live in.