All the Money in the World (2017)

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Critic Consensus: All the Money in the World offers an absorbing portrayal of a true story, brought compellingly to life by a powerful performance from Christopher Plummer.

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ALL THE MONEY IN THE WORLD follows the kidnapping of 16-year-old John Paul Getty III (Charlie Plummer) and the desperate attempt by his devoted mother Gail (Michelle Williams) to convince his billionaire grandfather (Christopher Plummer) to pay the ransom. When Getty Sr. refuses, Gail attempts to sway him as her son's captors become increasingly volatile and brutal. With her son's life in the balance, Gail and Getty's advisor (Mark Wahlberg) become unlikely allies in the race against time that ultimately reveals the true and lasting value of love over money.

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Cast

Christopher Plummer
as Jean Paul Getty
Mark Wahlberg
as Fletcher Chase
Romain Duris
as Cinquanta
Charlie Plummer
as John Paul Getty III
Timothy Hutton
as Oswald Hinge
Andrew Buchan
as John Paul Getty II
Charlie Shotwell
as Young John Paul Getty III
Marco Leonardi
as Mammoliti
Giuseppe Bonifati
as Giovanni Iacovoni
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Critic Reviews for All the Money in the World

All Critics (230) | Top Critics (40)

This movie may be about the soul-corroding nature of money, and it illustrates that well, but what exactly does it all mean? Scott proves miserly in providing answers beyond that.

Jan 25, 2018 | Rating: 2.5/4 | Full Review…

At 88, Christopher is at the top of his game. He turns Getty into a dastardly miser with an aggrieved core. There hasn't been such a lonely mogul in the movies since Orson Welles's Charles Foster Kane expired with "Rosebud" on his lips.

Jan 19, 2018 | Rating: B- | Full Review…

All the Money in the World ultimately ends up feeling like a curio, albeit one with hints of something much grander hiding behind those Getty Estate walls.

Jan 4, 2018 | Full Review…

A better title might have been "All the Movies in the World." We get a thriller, of sorts, and a crime movie, of sorts (Romain Duris, as a kidnapper, gives the most appealing performance). It's also a morality tale crossed with family melodrama.

Dec 28, 2017 | Rating: 2.5/4 | Full Review…

For a time this movie will probably be best known for the behind-the-scenes drama. But the work itself deserves to endure as one of the better films of 2017.

Dec 27, 2017 | Rating: 3.5/4 | Full Review…

[A] valid, fact-filled and invigorating movie ...

Dec 26, 2017 | Rating: 3/4 | Full Review…
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Audience Reviews for All the Money in the World

14/05/2018

Peter Bond
Peter Bond

Super Reviewer

½

As mentioned in the movie, "the events of this film have been fictionalized." When I read that text on-screen, I was hoping for a much more entertaining movie than what was delivered. Yes, this is a horrific event that would scar someone for life, but when you make a movie about a kidnapping, I feel like your audience needs to be completely engaged. This was the one thing that I felt this film lacked. You may not feel the same way, so take this review with a grain of salt, but I found All the Money in the World to be a powerful story, held up by a very slow-paced structure of a film. It's not something I'd tell you to rush out and see, but it's definitely worth a watch. Let's dive into a few details. Personally, I hadn't ever heard about the kidnapping of John Paul Getty III. This story was new to me, so I was fascinated to learn about the outcome. Following Gail Harris, a worried mother who will do nothing until her son's kidnappers are either caught or paid, All the Money in the World is a slow-burn in comparison to its premise. Taking its time to set up the core story throughout the first act, we get to understand how cruel of a man John Paul Getty (Gail's father) really was. Being a billionaire and refusing to give up the 17 million being asked for, this film becomes more of a puzzle of how to accomplish this big task and bring her son home. While the story itself is very engaging, the pacing itself is where the film began to lose me at times. Yes, when the film reaches its third act, it fires on all cylinders and never lets go of its audience until the credits roll. That being said, the first two acts of this film involve a lot of conversations on how to accomplish goals and taking many phone calls with the kidnappers. The dialogue is very well-written and keeps you engaged throughout the course of the entire film, but I feel that the movie itself was about 20 minutes too long and certain sequences could've easily been trimmed down, making for a much more exciting film. Not that this is supposed to be an exciting story or anything, but the kick was missing for me. When it comes to performing for the cameras, Christopher Plummer, Michelle Williams, and Mark Wahlberg are all names that we've heard countless times throughout the years. Plummer makes you hate his character, Williams truly makes you feel for her portrayal as this concerned mother, and Wahlberg does his schtick as well as ever. In terms of performers taking you through this story, I can't say I have any complaints, the trailers for this movie will always make me revert back to my pacing argument. Upon release of the first major trailer for this movie, it was cut together like a music video, making audiences believe they're in for a rollicking thriller from beginning to end when in reality, the trailer very briefly defines the third act. The marketing team for this film has done a great job of getting people interested, but it's not okay to lie about the tone. I didn't let this affect my experience of the film itself, but I felt that should've been noted. In the end, All the Money in the World isn't the type of movie that will be re-watchable in the coming years (at least in my opinion), but if you're unfamiliar with this story or have been wanting a film to be made about it, I fell that you'll be satisfied with the final product. Everyone comes to play here, even in the solid direction by director Ridley Scott (which I feel was odd for him to take this film on in general). I can't tell you to rush out to the theatres for this one, but it's definitely worth an eventual watch. Solid flick.

KJ Proulx
KJ Proulx

Super Reviewer

Solidly acted, overall engrossing story. The story revolves around the grandson, but the original Getty is the one we stick around to see.

Spencer Macklin
Spencer Macklin

Super Reviewer

SPACEY'D OUT - My Review of ALL THE MONEY IN THE WORLD (3 Stars) Love him or hate him, at 80 years old, Ridley Scott just churns out movie after movie as if he were still a young turk with something to prove. Then we have Christopher Plummer, who, at 88 years old, has famously replaced Kevin Spacey as billionaire J. Paul Getty, and shot his many scenes in 9 days just a few weeks before the movie's release date. Although he fully commits to his complex character, and Scott certainly knows how to tell this page turner of a story, I'm afraid we're more apt to remember the behind-the-scenes machinations more than we will the film itself. It's the meta movie experience taken to an historic new level, and for that alone, I recommend it, despite it being no more than just a pretty good film. Written by David Scarpa, whose sole prior screenwriting credit was the pretty terrible 2008 remake of THE DAY THE EARTH STOOD STILL and based on the book by John Pearson, the film plays a little fast and loose with the true story of the 1973 kidnapping of Getty's teenage grandson, John Paul Getty III (Charlie Plummer, no relation) from a street in Rome. His mother, Abigail Harris (Michelle Williams), divorced from the Getty scion, spends the bulk of the movie trying to get the senior Getty to pony up the ransom money. Notoriously tight with his money, Getty refused to pay, fearing it would open the door to further kidnappings of his other grandchildren. Despite this, he enlists an advisor, Fletcher Chase (Mark Wahlberg) to help find the boy and perhaps negotiate a better deal. Needless to say, things do not go as planned, none of which I'll spoil here. I love high stakes suspense thrillers, and this story certainly falls within that genre, but it's slightly inert. Without the fictionalized story elements, this would have been a big snoozefest. Luckily Scott does keep things clipping along. Wahlberg seems a little out of his depth, but he's an appropriately functional character. Williams perfectly captures the real Harris' WASPy, Katherine Hepburn-esque Mid Atlantic clipped speech patterns. As a concerned mother who just may be a step ahead of the senior Getty, she excels even without a surplus of showy scenes. In fact, most of the film feels fairly low key and intimate. When we're not following her in her attempts to save her son, we're right there in the cell with the young man as he builds relationships with his fairly inept captors. Romain Duris stands out as Cinquanta, who develops a layered, complicated rapport with Getty III. With the exception of Plummer, it's perhaps the most interesting dynamic in the film. But then there's Plummer, and he's sensational. It's tough making this Big Bad into anything sympathetic, and he's not, but the film does a really good job of letting us understand his warped point of view. I'm willing to bet that Spacey did a fantastic job too, but Plummer doesn't need prosthetics and he has no problem conveying the isolation and worldview of a person his age. It's smart, captivating and he gets all of the best lines in the film. In fact, the rest of the script feels fairly cursory. It's filled with ample "and then" moments, enough to keep you wondering how it'll turn out, but its also pretty perfunctory. I did enjoy that it's ultimately an origin story, about what I won't share, but when the pieces fall into place at the end, it's pretty satisfying stuff. I also enjoyed the emerging feminist storyline, something we've seen tin a similar way with Meryl Streep's character in THE POST. Williams' character may outwardly read as a meek woman, but her scrappy smarts comes to the fore to win the audience over. It's not the richest role, but it's inspiring nonetheless. Cinematographer Dariusz Wolski, who has worked on many of Ridley's films, fills the screen with an appropriately hazy, hippie glow throughout I believed the time period without it feeling forced. I wish editor Claire Simpson (PLATOON) had been able to convince Scott to trim the film, because it's slack at times, but this is polished, high quality filmmaking. Had the original version been released, and had Spacey's personal life not scuttled everything, this would have been a solid but unremarkable movie. Spacey would probably gotten an Oscar nomination, but that's about it from an awards standpoint. Now, Plummer will very likely get a nomination, and he deserves it on performance quality alone, but his amazing last minute efforts outshine even his creative accomplishments. ALL THE MONEY IN THE WORLD ends up still being solid, but this new incarnation is remarkable, just not particularly for what's on the screen, but for how it got there.

Glenn Gaylord
Glenn Gaylord

Super Reviewer

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