300 Words on "All the Money in the World" (2017)

I approached All the Money in the World with an almost clinical view. As a film which gained more press in recent weeks for the unprecedented last-minute reshoots which director Ridley Scott had to perform in order to replace Kevin Spacey in the role of oil tycoon, J. Paul Getty, I freely admit that I was curious to view the movie as the outcome of an experiment.

However, within minutes my analytical approach to the film melted away as I was drawn into it completely – All the Money in the World emerges as a thoroughly engrossing historical thriller.

There is much in the film which is vying for a reviewer’s attention; everything from the lush cinematography which swaths the entire film in a cold, metallic haze, to the resonating orchestral score by Daniel Pemberton deserves attention, but it is the performances which truly stand out. Michelle Williams as Gail, the put-upon mother of the kidnapped John Paul Getty III is a marvel in each of her scenes as she fights for both the life of her son and – hounded at every turn by the paparazzi – her own sanity. The true star of the film is Christopher Plummer as Getty whose titanic presence in each of his scenes lends innumerable layers to the role of the miserly oil baron. The fact that Plummer turned in such a multi-faceted, complex performance in only a few weeks’ time, too, speaks volumes to Plummer’s talents as an actor.  

Running over two hours, All the Money in the World may overstay its welcome a bit, but it is an engaging experience nevertheless. Its pitch-perfect recreation of 1970s America and Europe is truly immersive, and if that doesn’t grab you, then the work of Michelle Williams and Christopher Plummer certainly will. 

In short, it is so much more than a multi-million-dollar experiment.