Money is the new sex at the movies. Actually, if we¡¯re honest, maybe it was also the old sex. Whatever ¡ª in our overly consumerist society, money is on everyone¡¯s mind and more filmmakers are discovering the excitement that a stock chart can generate.
This includes Jodie Foster, who seems to glide effortlessly between her stints as a filmmaker (admittedly few and far between) and her cast-iron status as one of Hollywood¡¯s most enduring and iconic actresses. Unlike her last directorial/acting outing in 2011 with ¡°The Beaver,¡± Foster stays put behind the camera for ¡°Money Monster,¡± a tension-filled headline-grabber of a movie that flings dollar signs around like an electronics store on Black Friday. The talk is all about money: who has it, who doesn¡¯t and how everything it¡¯s involved in is rigged.
Though ¡°Money Monster¡± takes on financial institutions, it¡¯s a totally different ball game to last year¡¯s ¡°The Big Short,¡± another film that blabbed endlessly about finance and cash flow. While ¡°The Big Short¡± revealed an earnest and sincere lust for money, Foster¡¯s vehicle is more about rage and resignation ¡ª rage because the protagonist loses all his money on the stock market, resignation because deep down, he also knows he just can¡¯t win.
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