Critic Reviews
72
Metascore
Generally Favorable
positive
40(85%)
mixed
6(13%)
negative
1(2%)
Showing 47 Critic Reviews
Dec 27, 2017
100
It’s as realized a thriller as you are likely to find, not only in the precision of its performances, but in its evocative use of location (Rome, London), its period detail (especially Williams’ clothing) and the tension of the younger Getty’s months-long captivity.
Dec 22, 2017
91
Some people will think it’s a bizarre mess, others an unconventional masterwork. If there’s any justice in the world, the latter group will win out.
Dec 19, 2017
90
It's a true-life yarn loaded with extremes, of wealth, personal eccentricities, grief, tension, daring, criminal means to political ends, maternal drive and luck, both bad and good. It is also a peek into a rarefied world where money knows no bounds and yet means everything.
Dec 24, 2017
90
All the Money in the World revs up beautifully, first as a thriller. But while the kidnapping is the movie’s main event, it is only part of a story that is, by turns, a sordid, desperate and anguished tragedy about money.
Dec 20, 2017
88
Plummer’s last-minute performance is smashing. In fact, the whole film is excellent.
Dec 24, 2017
88
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
88
An absorbing drama that represents director Ridley Scott (“The Martian”) at his best.
Dec 19, 2017
85
Scott whips it all into shape: the tense action involving the kidnappers, the investigation’s twists, the maddening campaign to give Getty a financial incentive in freeing his grandson, and the emotional toll it takes on everyone (Getty included).
Dec 21, 2017
83
A smart, eminently watchable thriller, taut and stylish, and Plummer is remarkably good in it.
Dec 19, 2017
80
All The Money In The World is not perfect; there is a touch of naïveté and stereotyping in its depiction of the malign Italians with their one, redemptive nice-guy gangster. But with the help of Plummer’s tremendous villain-autocrat performance, Ridley Scott gives us a very entertaining parable about money and what it can’t buy.
