The Ridley Scott film, “All the Money in the World” – a terrific film telling the 1973 real-life abduction of the 16-year-old-son of the richest man in the world, J. Paul Getty – might have been a Best Picture candidate (due to its excellent scripting, production design, directing and acting) had it not been for the totally gratuitous scenes of the security man advising Getty’s wife, poorly played by Mark Wahlberg as if he were the film’s main star, scenes that bog the film down in talky, contrived plot padding. He is an irritating wrong note in an otherwise superb movie that I highly recommend. My guess is that Wahlberg created this unfortunate infirmity by insisting his part be expanded to make his character assume an ersatz importance. But, by all means, check out this excellent movie anyway.

This movie based on the actual story of the grandson of one of the richest men in the world at that time--J Paul Getty--will keep you on the edge of your seat. It is an interesting story and a sad one. The dilemma that Getty's daughter-in-law faced was real and that makes the movie all the more interesting and disturbing. Not for the faint of heart, it does get a bit gory at a couple of places. I recommend it!

Love the movie. DVD was undamaged, had fast and free shipping. Ordering was a piece of cake.

True story hard to believe someone that greedy. TRuth stranger than fiction in this thriller of a story. Marky Mark & Christopher Plummer superb acting to add to this script!

All the Money in the World delivers the typically strong score from a new release film. It's lifelike, fluid, and offers abundantly rich and detailed notes. It boasts good firm delivery, effortless spacing, and a well realized low end support. Sound effects are efficient and perfectly positioned. A train slowly rumbles to a stop early in the film with powerful stage traversal. Outdoor insects buzz around the listener in chapter three. Deep, dense shotgun blasts in chapter four explode with a distinct crack to the sides and rear. Bustling din that accompanies a gaggle of reporters places the listener in the middle of the crowd. Office ambience engulfs the listener in chapter 11. The track is filled with a number of intensely defined, largely spaced, and perfectly proportioned support effects. It's an active, engaging listen that handles every element with striking precision, often presenting larger than its 5.1 channels suggest. Dialogue is, of course, clear and well defined with firm front-center positioning.