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Critics Consensus: Generation Wealth has admirable aims, but never manages to focus long enough to put together the type of cogent argument made by director Lauren Greenfield's earlier works.
Critic Consensus: Generation Wealth has admirable aims, but never manages to focus long enough to put together the type of cogent argument made by director Lauren Greenfield's earlier works.
All Critics (84) | Top Critics (20) | Fresh (38) | Rotten (46)
Bleak and compelling viewing.
Scattered and self-indulgent, a career retrospective in search of a coherent theme.
Greenfield's titillating survey of America's grossest obsessions, from plastic surgery to porn, only flirts with economic and social context, mainly limiting itself to observation and personalization.
"Generation Wealth" feels like it's all over the place, and that, if most of its subjects are lacking in depth, the movie itself is open to the same criticism.
If "Generation Wealth" has a message that empty acquisitiveness is bad, it delivers it, like the rest of her work, by showing, not telling.
It's all over the place, to the point of inducing numbness or suffocation.
Greenfield's takeaway -- money doesn't buy happiness, family is important, status is illusory -- feels too pat. It also ignores a larger point: The people here who claim not to want money are the people who've had it and lost it.
Whilst it suffers from a lack of focus at times, it's a well-made and thought-provoking insight into our strange new world.
By being both sprawling and personal, Greenfield forces us to look at how we are all complicit in this culture that prizes wealth.
Maybe society is just so afflicted with its wealth sickness that looking at all the symptoms of the illness makes it impossible to craft a compelling diagnosis of how the infection started and spread.
What we get is a film that is most fun when observing the cautionary lifestyles of the once-rich and adjacent-to-famous, but most insightful when it pulls outs of the fast lane and Greenfield's eye turns inward on her own life.
The degree of difficulty here is off the charts, and the wildly uneven results only make the achievement of Kirsten Johnson's Cameraperson all the more impressive.
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