Up first on our countdown to the Oscars is The Big Short, directed by Adam KcKay and starring Steve Carell, Christian Bale, and Ryan Gosling. It is rated R for pervasive language and some sexuality/nudity.
From IMDB: Four denizens of the world of high-finance predict the credit and housing bubble collapse of the mid-2000s, and decide to take on the big banks for their greed and lack of foresight.
8 out of 10
Full disclaimer: I had a lot of trouble following what was going on in the movie. The dense terminology plus the complicated nature of finance completely lost me. But somehow, I still managed to really enjoyed The Big Short, probably because Adam McKay does an excellent job of recognizing that many regular people lack the ability to keep up and plays on it.
For instance, cutting to Margot Robbie in a bubble bath explaining financial terms to simplify it is a genius move— it was a hilarious change of pace that allowed me to catch my breath (Though it probably would have been more helpful if Margot Robbie in a bubble bath hadn’t distracted me). McKay does this twice more, giving a movie that is essentially a documentary on finance some personality.
It also breaks the fourth wall a lot, furthering easing regular viewers into the new world of confusing finance terms. Gosling opens the movie by doing this, and it is continued throughout the movie by man different characters. I personally loved when one of the actors broke the fourth wall to recognize when something in the movie differed from the real life account. Recognizing and exposing the subtle lies of movies ‘based on true stories’… Brilliant.
Of course, The Big Short would be nothing without its trio of male stars that play extremely unique men emerged in this crisis. Carrell continues to prove that he is more than capable in dramatic roles, following up last year’s Foxcatcher with a sparkling performance as the cynical, hardened Mark Baum. Gosling acts as the films narrator in a way, opening the film with narration that draws us in and keeps us there. But the best performance of the film is that of Christian Bale’s, playing socially awkward genius Michael Burry. Bale is known for his attention to detail and it is no different here, nailing every quirk that Burry has.
The most impressive part of the film had to be how te structure and style reflected its message. The main point is that none of the American public had any idea what was going on (ex. the strippers), but instead remained obsessed with pop culture, much like how a regular audience does not have the slightest idea of what is going on in the movie and only pay attentions to the glamorized scenes with celebrities. The problem with the financial crisis is that Americans had no idea what was going on, this theme reverberating throughout the film.
That being said, I think there was a lot of fluff that contributed to the movie being rather slow towards the middle. I thought a lot of the scenes were repetitive in terms of structure; essentially, I felt a bit of deja vu while watching the film. This, paired with the density of the material, led to some pacing issues that lulled me to sleep at one point.
For a film that is essentially Inside Job with a bit more flavor, it is extremely well crafted. With a unique style and compelling narration, The Big Short is successfully comedic but full of grim implications, making it one of the best movies of the year.
9.5 out of 10
“Anyone can make something complicated. Creativity is making the complicated simple.”
(Have I used that epitaph in a review before? Of course I have! I can’t remember which but I’d imagine it was something that clunked around under its own weight like Interstellar.)
Here’s a shocker for you: economics is not exciting. It’s pencil pushing and number crunching. It’s some brokers shouting and squawking before some red and green arrows on Wall St. It’s those contracts you never read and those acronyms you never cared to understand. Finance. Ain’t. Fun.*
I’ve previously expressed though that the highest of movie magic is when a film transfigures something from enormously complex to accessible without losing any of the topic at hand’s weight (Think Moneyball’s treatment of the nitty-gritty of teambuilding or even how the recent spectacle Spotlight deliberately paces but one protracted piece of reporting). The jargon and prolonged process is all there to bolster the accuracy yet there’s enough style, talent and deft delivery to make it (What else?) digest-able.
Damned if Big Short doesn’t fit that bill. Comedy champion Adam McKay’s latest feature is smart as it is succinct and humorous as it is horrifying. It’s a movie that fully embraces the confusing nature of its subject (The shady swaps that all but consumed the American economy in 2008) in the hopes that you will too (Trust me, with writing this sharp and scenes this self-aware, you’ll succumb to all the monetary mayhem). This masterwork is the better blend of Inside Job (2010) and Wolf of Wall Street.
We’ll start with the all-star cast, of course, which sits at the heart of this cinematic juggernaut: comedy veteran Steve Carell wows as the curiously capricious Mark Baum. Ryan Gosling kills it as swift salesman Jared Vennet who sees the crisis coming (and exploits the living hell out of it). Even seasoned dramatics Christian Bale and Brad Pitt command more than a few snickers as their characters (savant and cynic respectively) carve through the Wall St. B.S.. Are all these characters and their antics pulled from real life? Of course, mostly (The film will gladly tell you when it diverges from nonfiction though).
The film also stylishly zips from proceeding to proceeding, taking full advantage of an early 2000’s-dominated soundtrack (I forgot how much I loved “Feel Good Inc.”) and making some (at first) pretty jarring pacing choices. Does it suffer from these timing decisions? It stumbles a little at first but either it found its groove or I just got more absorbed by it. I’m fine with either.
Yet despite all the laughs, I left this movie feeling utterly punched in the gut. Make no mistake, it’s a muckraker disguised as a comedy. God help you when you suddenly realize the sketchy skylarking playing out onscreen did happen and, even worse, the only victim at the end of the day is you (Or so the movie seems to conclude). And all the wisecracks and keenly crafted montages in the world can’t even seem to conceal the ugliness of Adam Smith’s system today.
*What do you call a cross between a jet plane and an accountant? A Boring 747! (I desperately wanted to fit this in the review but I have to confine it to a footnote.