Directed by:
Adam McKayCinematography:
Barry AckroydComposer:
Nicholas BritellCast:
Christian Bale, Steve Carell, Ryan Gosling, Brad Pitt, Marisa Tomei, Finn Wittrock, Max Greenfield, Melissa Leo, Rafe Spall, Hamish Linklater, Byron Mann (more)Plots(1)
In 2005, eccentric San Jose-based money manager and heavy-metal music enthusiast Michael Burry (Christian Bale) studies thousands of individual loans bundled into highly rated mortgage bonds and makes a startling discovery: The financial products are loaded with delinquent home loans certain to default over the next few years. While Wall Street bankers and government regulatory agencies ignore this ticking time bomb, Burry invents a financial instrument called the credit default swap in order to "short" the booming housing market — much to the dismay of his hedge fund's owners and investors. When slick young Wall Street banker Jared Vennett (Ryan Gosling) catches wind of Burry's strategy, he uses a tower of tumbling Jenga blocks to persuade hot-tempered hedge-fund manager Mark Baum (Steve Carell) that he too should invest millions in credit default swaps. Initially skeptical, Baum and his contentious team of wise-cracking young analysts (Jeremy Strong, Hamish Linklater and Rafe Spall) undertake their own investigation. Researching the housing market in Florida, they interview glib mortgage brokers who routinely obtain loans for grossly under-qualified home buyers and a strip-club dancer who's made zero-down-payment purchases of multiple properties. Meanwhile, 20-something money managers Jamie Shipley (Finn Wittrock) and Charlie Geller (John Magaro) also stumble upon the housing-market bubble. Hoping to break into the financial big leagues, they're distressed to find their $30 million fund falls almost $1.5 billion short of the requirements needed for a seat at the grownups' table. So they enlist banker-turned-environmental-doomsayer Ben Rickert (Brad Pitt), who uses his connections to help them make their own bet against Wall Street. By the time the market finally crashes in 2008, these contrarian investors will make billions yet will be forever changed by their experience. But while the financial institutions whose reckless behavior caused the problem are bailed out by U.S. taxpayers, millions of Americans lose their homes, their jobs and their retirement savings in an economic catastrophe whose effects are still being felt today. (Paramount Pictures)
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Reviews (18)
A Little bit like Margin Call, a little bit like The Wolf of Wall Street, a little bit like John Oliver... Pell-mell, which holds together despite all assumptions and the creators do not play it safe. On the contrary, McKay has a nicely subversive and viewer-friendly approach to a topic that is difficult to grasp. His approach is perhaps too inconsistent (but thanks to this, it is exceptionally dynamic) and where "each of the great cast" steals a show for some time, but as a result, he managed to make a film that sheds light on the financial crisis in such a way that it works both dramatically and comedically (in the best moments even within the same scene) and, in addition, it was understandable even to those who have no idea what financial market is about.
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An interesting film on a subject I don't like, but here it is handled in an audience-friendly way and the fine actors make the film quite enjoyable to watch. I was disappointed with Christian Bale, he was a pain in the neck here, and Brad Pitt didn't get much space, but Ryan Gosling and Steve Carell were excellent. I was expecting a more tense finale and was hoping for at least some Boom!, which didn't happen. Still, a stronger 3 stars. The comedy label didn't really suit me here. 65%
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Can a two-hour lesson in pre-crisis economics, where CDOs are constantly shortened and there is swapping, be dynamic, emotional and fun? A very big bet on uncertainty, but surprisingly yes - a great masterclass of editing, music dramaturgy, (detailed) directing of actors and, of course, the glass eye of Christian Bale... Monetary shots right from the start of the year, write the mortgage in the name of your pooch, buy seeds, invest in water and listen to METALLICA. And have your colon rinsed out regularly. Nothing ends, moving on...
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The makers of The Big Short were fortunately conscious of how indigestible a film overloaded with names, numbers, abbreviations and the uncovering of complicated relationships between the individual components of the investment market would be. Therefore, they conceived the film as a two-hour shouting match between a few eccentrics, speaking in advanced economic gibberish instead of human language. Without resigning itself to fidelity to the facts, The Big Short attempts to tell the story as graphically as possible and with the detached humour found in The Wolf of Wall Street. However, McKay is no Scorsese, especially in terms of storytelling abilities. Our guide on the path to economic disaster is Jared Vennett, who occasionally turns directly to the camera or stops the flow of the narrative to gleefully shed light on the tricks that the big fish on Wall Street use. But his own tricks quickly become predictable. The breaking of the fourth wall by the plain-spoken narrator is mainly a means of distraction, not – as in Wolf – an essential part of a well-thought-out narrative strategy. Similarly, the film randomly intersperses the exaggerated comedy with moments of existential crisis for the increasingly helpless Baum (the scenes with his wife are among the most unnecessary of the whole film, which is rather regrettable, given the casting of Marisa Tomei). Also distracting is the hyperkinetic editing and shaky camerawork by Barry Ackroyd, who shoots the sharp exchanges of opinion in the enclosed offices as frantic (Greengrass-esque) action. From start to finish, he zooms, refocuses and pans with admirable energy, resulting in the blending of scenes that are crucial for the narrative with others in which nothing essential happens. Neither the pacing nor the urgency with which the film speaks to us is developed. The film is monotonous, lacks suspense and surprises, and is rather more reminiscent of a PowerPoint presentation than a drama that is funny in places, but you have to force yourself to pay attention to it for the whole two hours. It helps a lot that some of Hollywood’s most charismatic actors vie for our attention; they are excellent especially in the brazenly farcical moments. The partially improvised scenes involving them shouting each other down are among the highlights of the film. Due to the shallowness of their characters, however, they have nothing on which to base their performances during the more serious moments. The same can be said of The Big Short as a whole. As merely a cynical comedy ridiculing people who make million-dollar transactions with no more thought than evacuating their bowels, it is highly entertaining. As a warning against the inherent rottenness of capitalism, it falls flat. 70%
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Drowned in their own ambitions. The creators want so much to be the authors of a gripping wake-up call that they are almost unwatchable at their core. All the economic ranting lacks the bigger dramatic arc that propelled, for example, The Wolf of Wall Street, which the screenwriters obviously adore (evidenced not least by the ubiquitous and overly aggressive satire). Some personal stories make brief appearances here too, but due to the dilution of attention among the dozens involved, they vanish into oblivion. I understand that if you're going to discuss economics and mortgages for over two hours in a hundred and one different ways, we will have to immerse ourselves in professional terminology, but we still didn't really need that many. The constant dissection of more and more future financial catastrophes is downright tiring in the final act, it doesn't move the plot forward and merely redirects it into a screenwriter's twist it has already taken several times before. It's been a while since I was last this bothered over actors (in this case, the chameleonic Christian Bale and explosive Steve Carell) performing at full steam without managing to interest me in the consequences of their characters' actions.
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