Review: All The Money In The World

This film garnered significant publicity, albeit controversially, due to the initial casting of Kevin Spacey in one of the principal roles. While much has been written regarding the allegations against him, I will refrain from reiterating those details here. Director Ridley Scott, recognizing the potential detriment to his film, made the decision to reshoot all of Spacey’s scenes with a replacement actor. Reportedly, Scott’s shortlist for the role of J.P. Getty, the world’s wealthiest man, included both Spacey and Christopher Plummer. The rationale for initially selecting the 58-year-old Spacey over the 88-year-old Plummer remains unclear (Scott’s explanations have been inconsistent, though rumors suggest financing considerations influenced the decision). As the allegations surrounding Spacey intensified, the situation became critical. With approximately 22 minutes of footage needing to be reshot, Mr. Plummer had a mere two days to master the role – a substantial one, representing the third-largest principal character.

The story unfolds in 1973, as 16-year-old John Paul Getty III (Charlie Plummer) is abducted after an evening in Rome. Kidnappers seize him and transport him to the Italian mountains. They contact his mother, Gail Harris (Michelle Williams), demanding a $17 million ransom, believing this a reasonable sum given that he is the grandson of John Paul Getty the First (Christoffer Plummer), the world’s first dollar billionaire. However, Gail lacks access to the family fortune, leaving her with the task of persuading the notoriously frugal, eccentric, and obstinate grandfather to release the ransom money.

Ridley Scott is known for delivering well-produced films; however, the quality of the narratives can be variable. Examples range from the critically panned Alien: Covenant and Hannibal to acclaimed works such as Blade Runner, Alien, Gladiator, and, more recently, Black Hawk Down and The Martian. All The Money in the World occupies a middle ground. The film recounts an intrinsically compelling true story, though with certain dramatic liberties taken for cinematic effect. Despite this, the film underdelivers on its potential; a narrative with the capacity to evoke intense emotional responses feels surprisingly detached. While moments of tension exist, the film primarily unfolds passively, lacking significant emotional engagement.

Michelle Williams delivers a commendable performance as Gail Harris, offering one of her stronger portrayals. However, the performance feels restrained, suggesting a deliberate effort to avoid excessive emotional depth.

Mark Wahlberg (previously discussed in the Daddys Home 2 review) assumes his familiar persona as Fletcher Chase, a former CIA operative turned security expert. Hired by J.P. Getty to assist Gail in securing her son’s release without paying the ransom, Wahlberg portrays Chase with confidence, adopting a cool and somewhat James Bond-esque demeanor. In reality, Fletcher Chase was reportedly less effective, with his actions complicating the situation.

Christopher Plummer delivers a standout performance, arguably the film’s strongest element. Stepping in to reshoot a significant role within a compressed timeframe – before the American premiere in December – posed a considerable challenge. Plummer, however, portrays J.P. Getty with an icy exterior, yet hints at a subtle underlying warmth, an element reportedly absent in Spacey’s portrayal. This nuance adds depth to the character, preventing him from becoming a mere villain and suggesting a degree of humanity.

Finally, I would like to acknowledge Charlie Plummer (no relation to Christopher), who portrays the kidnapping victim, and Romain Duris, who plays one of the kidnappers. Both actors deliver convincing performances, establishing a credible relationship that gradually evolves towards Stockholm Syndrome.

All the Money in the World suffers from two primary weaknesses: a certain emotional detachment and an excessive runtime. The film could have benefited from tighter editing. Furthermore, an added sequence at the film’s conclusion, which deviates from historical accuracy, feels like a contrived attempt to inject additional drama. Despite these flaws, the film receives a relatively high rating, owing to Christopher Plummer’s compelling performance, its meticulous period setting, and the underlying intrigue of the story.