Gold – film review

RESUME : Kenny Wells is a modern-day explorer, schemer and dreamer, desperately waiting for the wheel to turn. With his back to the wall, Wells teams up with an equally unlucky geologist for one last gamble: finding gold deep in the Indonesian rainforest.

Our opinion : Distant inspiration from the scandal on the Bre-X Busang Gold Mine which had hit the headlines, Gold could have ended up in the hands of directors Paul Haggis or Spike Lee, a time attached to the project. But it’s ultimately Stephen Gaghan, director of Syriac and author of the script of Traffic, who inherits it (note that Paul Haggis remains one of the executive and delegate producers). We can follow the journey of schemer Kenny Wells (Matthew McConaughey), who, with the help of a geologist (Édgar Ramírez), decides to go and try his luck in the Indonesian jungle to dig up a gold mine.

Copyright Studiocanal GmbH / Lewis Jacobs

In the mode of the eternal destiny of a man who will approach glory before experiencing a vertiginous fall, Gold is never too open to audacity, whether in terms of narration (the mechanics of it are too easy to detect to be taken by surprise) or staging, but can boast of a cast that holds the line perfectly road (great chemistry between Matthew McConaughey, Edgar Ramírez and Bryce Dallas Howard). Matthew McConaughey will mark the spirits by carrying the film from the first to the last minute on his broad shoulders. The actor is a regular at physical transformations, and it’s also, remember, thanks to one of them that he won an Oscar in 2014 for his poignant performance in the Dallas Buyers Club by Jean-Marc Vallee. Again metamorphosed (paunchy and suffering from baldness), he delivers an intense new score with this role of big lucky guy caught up by the system, which could, why not, send him into the race for the next statuette.

Copyright Studiocanal GmbH / Lewis Jacobs

Alas, on the whole, Gold does not always allow him to embrace his subject as he should, sometimes underestimating his audience, the fault of the use of a few large strings incorporated into his frame. Wanting too much to be talkative and so undemonstrative in his second half, he certainly misses a few exceptional moments. The other criticism that can be made of Stephen Gaghan’s film is that it shows a real lack of sass behind the camera (we adhere much more to the first Indonesian part exalted by the frame than to the full return to aces in offices). Looking closely, here is a work which, placed in the hands of a more seasoned filmmaker With a real eye, could have made it possible to fill in certain gaps, just to generate a real nugget and leave the spectator a little less passive .


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