The film of the creator of “Continuity” that you must see and already in HBO Max

MountainWritten by Jesse Amstrong and now available in Max, affects the sensitive point of the current obsession with the life of billonarium. But he does this from the usual point of view of the screenwriter, the creator of the iconic SubsequenceThe field so the interest of the plot is focused on everything that surrounds billionaires from a contradictory point of view Disconnected from the general human experience in which the characters are located.

For this, the script reveals narcissism and the decay of four technological titans that decide to isolate themselves in a luxurious cabin. This, although artificial intelligence, which helped to develop, begins to disclose geopolitical chaos. The prerequisite is included in the fertile land, such as misinformation, Deep And the collapse of empathy, but cleaning them without obligation. Topics in which he plays without falling into Exaggeration or temptation of serum on modern evil, equating it to wealth.

Instead, Amstrong makes his vision of privileges closer to the complete dehumanization of the power spheres. Therefore, he is in a hurry to clarify almost from the first scene that his heroes have forgotten the current world. Isolated by their amazing wealth and their knowledge of the financial world, all the decisions that they make are violent. Or, at least, not given too much, which can affect citizens of the legs. An awkward topic that the tape will return several times throughout its history.

Great actors for complex documents

For such a script, the tape has a well -known cast. With names such as Steve Karell, Jason Schwarzman, Rami Yussef and Corey Michael Smith, the argument manages to become a harsh criticism with absurd dyes. Nevertheless, the film is more ambitious than simply indicates errors of the global economic system. Thus, this is concentrated on very tough bullying about the ability The great current leaders in the face of the needs of the world.

Of course, this is an unusual approach – and controversial – on the so -called millionaires created by oneself. Which allows Jesse Amstrong to make fun of his characters with perverted irony. Despite this, Mountain He hugs a crazy comedy without shame, and it is here that he finds his true nature: not as a complaint, but as a show. The script will noticed to devote himself to a brush vision. This, without cleansing if he condemns them or simply makes them memes. A turn that does not allow the tape to become a perpetem or, in the worst case, ethical statement.

Just like in SubsequenceJesse Amstrong uses the corporate world as a background to make fun of greed, disloyalty and cruelty. The warnings about the manipulations with the media or the dangers of the corporate ego are mixed between the discussions about the legal conditions and the financial technical sciences. Thus, the plot is moving to the scandalous perspective of modern authorities. Instead of strategists or leaders, influence is in the hands of a group of fools With economic abilities, but without intellectual depth.

Ambiguous ending and with some problems

Nevertheless, Mountain He will not be able to take his satire outside the surface of corrosion criticism. There is a cold inherent in how characters argue about their technological projects, while the world is falling apart outside their bubble. His dialogs, saturated with arrogance and leaving words, show a cruel gap with any idea of ​​responsibility. And it is in this absence of humanity, where Mountain He could find his engine.

Nevertheless, the film chooses quite mocking these technological titans, without dismantling the structures that make them possible. While some spectators can laugh at the stupidity of these characters, there is an obvious fatigue to see another attempt to note that the rich are ridiculous, not offering something new. At the moment, we do not need another story about immature millionaires: We must tell us what can be done with them.

Despite everything, the actor manages to start the moments that justify the entrance. Karell, in particular, offers an action that fluctuates between complete absurd and contained pathetism. His character seems to be a mixture between the emperor without clothes and the leader of the office, who was lost in the Greek tragedy. Schwarzman contributes to his well -known air of comic suffering, while Yussef works as a balance with his rationality in ruins. Smith, meanwhile, plays a character So confident in his invulnerability that he could fight a tree for boredom.

The dynamics among four has moments of a real spark, especially when the film is delivered to the farce. There, between empty glances and a partnership, the best of the film appears. The choir comedy that does not perceive itself too seriously, lOr that, paradoxically, ultimately becomes its strongest point.