--- title: "All the Money in the World" year: 2017 kind: "film" canonical: "https://film.one/film/all-the-money-in-the-world" fi1m_id: "all-the-money-in-the-world" imdb_id: "tt5294550" tmdb_id: 446791 wikidata_id: "Q30321629" fi1m_score: 63 critics_score: 64 critics_reviews: 28 published: "2026-10-02T23:49:11.002990+00:00" updated: "2026-10-02T23:49:23.125626+00:00" region: "PH" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # All the Money in the World (2017) Directed by Ridley Scott · 2h 12m · Crime, History, Thriller, Drama ## Identity All the Money in the World - **Canonical:** https://film.one/film/all-the-money-in-the-world - **Type:** Film - **Fi1m ID:** all-the-money-in-the-world - **IMDb ID:** tt5294550 - **TMDB ID:** 446791 - **Wikidata ID:** Q30321629 - **Same entity:** https://www.imdb.com/title/tt5294550/, https://www.themoviedb.org/movie/446791, https://www.wikidata.org/wiki/Q30321629 **Fi1m score: 63** · Critics 64 from 28 reviews *In a sentence:* The richest man in the world installs a payphone for his guests, and that is the whole film in one prop > Ridley Scott’s Getty kidnapping thriller is handsomely made and has one great thing in it: Christopher Plummer, drafted in late and better than the film around him. The rest is well played, slack in the middle and unsure whose story it is. ## Synopsis Rome, 1973. John Paul Getty III (Charlie Plummer), sixteen and grandson of the richest man in the world, is pulled into a van off a night street by men who want 17 million dollars. His mother, Gail Harris (Michelle Williams), divorced from his father John Paul Getty II (Andrew Buchan) and with no Getty money of her own, goes to the old man. Jean Paul Getty (Christopher Plummer), at Sutton Place outside London among the paintings he does pay for, says no: a ransom paid is a price set on his other grandchildren. He sends his fixer, former CIA man Fletcher Chase (Mark Wahlberg), to Rome to settle it cheaply. The boy sits chained in a Calabrian farmhouse with Cinquanta (Romain Duris), the one kidnapper who talks to him. ## Review Ridley Scott has made a film about a man who could afford anything and would not pay for his grandson. In 1973 the sixteen-year-old John Paul Getty III (Charlie Plummer) is taken off a Rome street by men who want 17 million dollars, and his grandfather, Jean Paul Getty (Christopher Plummer), announces that he will give them nothing. David Scarpa’s script follows three people who cannot agree on what the boy is worth. It is a good subject and a handsome, airless film with one performance we would send anyone to see. That performance was shot in a hurry after Scott recast the part weeks before release, and you would not know it. Christopher Plummer plays Getty as a man who has mistaken his money for a philosophy. He tells a journalist he trusts objects because they do not change, and he has a payphone installed at Sutton Place so his guests will not run up his bill. Plummer does not play him as a monster. He plays him as reasonable, with a twinkle, and that is far worse. When he explained why paying would put a price on his other grandchildren, we followed the logic for a second before we caught up with ourselves, and it chilled us. The film knows what it has and cuts back to him whenever the Italian scenes flag. Michelle Williams gives Gail a clipped, old-money voice and a face that has decided not to crack in public. Her best scenes are with the press, who want a weeping mother and get a woman reading a statement, and with Getty, who treats her as a servant asking for a raise. The script keeps pulling her off the board. She spends long stretches on the telephone or waiting while the film goes to Calabria or into the past, and it is weaker every time it leaves her. Mark Wahlberg’s Fletcher Chase is the trouble. He is a former CIA man turned Getty fixer, and the script gives him the film’s change of heart, from the old man’s errand boy to his accuser, when the mother has far more right to it. Wahlberg plays it in sideburns and a drawl and never convinces as a man who reads people for a living. Timothy Hutton, as Getty’s adviser Oswald Hinge, does more with less. The flashbacks explaining how Getty got rich and how his son (Andrew Buchan) fell apart land in the first act in a lump, and Claire Simpson’s cutting, quick elsewhere, cannot hide that the film has stopped to read us the family history. Dariusz Wolski shoots Rome at night in smoky amber and Sutton Place in flat grey daylight, so the boy’s world is warm and the old man’s is cold. Arthur Max fills Getty’s rooms with marble and canvases and leaves the kidnappers’ farmhouse as bare stone and one chain. Janty Yates puts Gail in dark, sharp-shouldered coats and Getty in suits he has owned for decades. Daniel Pemberton’s score keeps a low, nagging pulse of strings under the ransom calls and drops out when Plummer is talking. None of this is the problem. Charlie Plummer spends most of the film chained to a wall, and he is good at the slow business of a boy working out that nobody is coming. Romain Duris, as the kidnapper Cinquanta, offers him the only tenderness in the picture, and their scenes are the quietest and best after the old man’s. Then the negotiations drag, the second half takes a turn we will not describe, and the film works itself up to a chase through a hill town that belongs to a sillier picture. By then we had started checking the time, which we did not expect. Scott’s best thrillers keep several places alive at once. Here Rome, Sutton Place and Calabria take turns, each waiting politely for the others to finish. At 132 minutes, with a 15 certificate, it has the shape of a thriller and the pace of a deposition. See it for Christopher Plummer and for Williams, at home, where you can get up during the flashbacks and nobody will mind. *Fi1m score 63, published 2 October 2026.* ## What the critics say Most critics come down on the positive side, if not by much, and almost all of them agree on one thing: Christopher Plummer. His J. Paul Getty, filmed in a hurry after the recasting, is named as the film’s best element more often than anything else, praised for its authority, its iciness and an unexpected pathos. Michelle Williams’s Gail draws the next most praise, and several reviews credit Ridley Scott with making the late reshoots invisible and keeping the thriller brisk. The spread is wide. The reservations cluster on pace and feeling: a good number of critics find the film detached, plodding or mechanical, with the ransom plot slow to generate tension and the characters thinly drawn. Slant and The Ringer go furthest, finding it tasteless and flat, while Paste dissents on Plummer himself, calling the rushed performance out of place. Collider, among others, objects that Williams is sidelined when she should be central. ## Straight answers **Is All the Money in the World worth watching?** *All the Money in the World* is worth watching for Christopher Plummer's performance as Jean Paul Getty, and we scored it 63. The rest is handsomely made but slack in the middle, unsure whether it belongs to the mother, the fixer or the boy, and best seen at home where you can step out during the flashbacks. **How long is All the Money in the World, and what is it rated?** *All the Money in the World* runs 2h 12m. It is a crime and history film. **Where can I watch All the Money in the World in the Philippines?** *All the Money in the World* is not on any streaming or rental service in the Philippines at the moment. It is available in 31 other countries; change your country at the top of the page to see where. Availability is checked daily. **How violent or frightening is All the Money in the World, and is it suitable for children?** *All the Money in the World* carries a UK 15 certificate and is not for children. It is a kidnapping story about a sixteen-year-old held chained in a farmhouse, with a ransom plot and a late turn we will not describe, so expect menace and cruelty rather than constant bloodshed. Older teenagers should manage it; the squeamish may find one stretch hard. **How does All the Money in the World compare to Dog Day Afternoon?** *All the Money in the World* and [*Dog Day Afternoon*](https://film.one/film/dog-day-afternoon) are both true hostage stories, but Sidney Lumet's film is the better and the livelier of the two. Scott's picture is cool, handsome and airless, propped up by one great performance, while Lumet's is sweaty, funny and far more interested in its people. Choose Scott for Plummer, Lumet for the whole ensemble. **What should I watch after All the Money in the World?** After *All the Money in the World*, try [*Dog Day Afternoon*](https://film.one/film/dog-day-afternoon) (1975, Fi1m 90): Another true hostage case, this one sweaty, loud and far more interested in its people. Then [*There Will Be Blood*](https://film.one/film/there-will-be-blood) (2007, Fi1m 88): Oil money as a disease; Daniel Day-Lewis makes Getty look positively clubbable; and [*Citizen Kane*](https://film.one/film/citizen-kane) (1941, Fi1m 93): The original rich man surrounded by things; shorter, and sure of what it thinks. ### Reviews we read (28) - **The Hollywood Reporter**, Todd McCarthy (90/100, inferred): McCarthy gives the film an enthusiastic verdict, calling it a gripping and propulsive thriller. He especially praises Christopher Plummer’s authoritative performance and Michelle Williams’s resourceful portrayal of Gail. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/all-the-money-in-the-world-1069161/) - **Los Angeles Times**, Kenneth Turan (82/100, inferred): Turan finds the film worth seeing, praising Ridley Scott’s ability to make the last-minute recasting feel seamless. He particularly singles out Christopher Plummer’s portrayal of J. Paul Getty, while also commending Michelle Williams’s performance. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-all-the-money-in-the-world-review-20171221-story.html) - **Little White Lies**, Hannah Strong (3/4/3): Strong finds flashes of greatness in the film but says its hero complex dampens them. She praises Christopher Plummer and Michelle Williams while criticizing the framing of Mark Wahlberg’s character as heroic. [Read](https://lwlies.com/reviews/all-the-money-in-the-world) - **The i Paper**, Geoffrey Macnab (80/100, inferred): Macnab argues that replacing Spacey with Plummer was the right move and that the film benefits from Plummer’s performance. He especially praises Plummer’s portrayal of Getty as both a victim and a villain, with gravitas and pathos. [Read](https://inews.co.uk/culture/film/all-the-money-film-review-113700) - **Total Film**, Kevin Harley (4/5): Harley praises the film as a lean, intelligent thriller, with Scott directing it briskly despite the challenges surrounding its production. He singles out Christopher Plummer’s nuanced performance and Michelle Williams’s convincing lead turn. [Read](https://www.gamesradar.com/all-the-money-in-the-world-review/) - **Empire**, Nick de Semlyen (75/100, inferred): The critic finds the thriller consistently gripping and its study of money and greed terrific, despite some reliance on cliché. Christopher Plummer’s complex, icy performance as J. Paul Getty is singled out as the film’s best element. [Read](https://www.empireonline.com/movies/reviews/money-world-review/) - **Film Comment**, Michael Sragow (75/100, inferred): Sragow presents the film as a sharply drawn thriller with clear-eyed treatment of the kidnapping. The standfirst singles out its depiction of the Getty oil scion’s abduction. [Read](https://www.filmcomment.com/deep-focus-money-world/) - **The AV Club**, A.A. Dowd (B-): Dowd finds the film uneven, with a proficient but overly workmanlike approach. He singles out Christopher Plummer’s performance as the film’s best element, while criticizing the weak dramatic tension between Getty and Gail. [Read](https://www.avclub.com/removing-kevin-spacey-isnt-the-only-way-they-could-have-1821498738) - **RogerEbert.com** (64/100, inferred): The page is blocked by a browser verification screen, so the critic’s verdict cannot be determined. No praise or complaint from the review is available to verify. [Read](https://www.rogerebert.com/reviews/all-the-money-in-the-world-2017) - **Screen Daily**, Tim Grierson (64/100, inferred): The review’s verdict is unavailable in the accessible text. The page identifies the real-life kidnapping and greed as the film’s central focus, but provides no specific praise or complaint. [Read](https://www.screendaily.com/reviews/all-the-money-in-the-world-review/5125094.article) - **The New York Times** (64/100, inferred): The article text is inaccessible, so the critic’s verdict cannot be established. No specific praise or complaint can be verified from the available page. [Read](https://www.nytimes.com/2017/12/24/movies/all-the-money-in-the-world-review-christopher-plummer.html) - **Variety**, Peter Debruge (60/100, inferred): Debruge finds the thriller technically accomplished but somewhat mechanical and lacking sustained suspense. He singles out Christopher Plummer’s performance as its strongest element, praising how it humanizes the miserly Getty. [Read](https://variety.com/2017/film/reviews/all-the-money-in-the-world-review-1202645915/) - **Vulture**, David Edelstein (60/100, inferred): Edelstein finds the film uneven but worthwhile, with Michelle Williams’s performance giving it emotional force. He also praises Christopher Plummer’s portrayal, while faulting the thin characterization and familiar, ridiculous climax. [Read](https://www.vulture.com/2017/12/all-the-money-in-the-world-movie-review.html) - **Radio Times**, Terry Staunton (50/100, inferred): The review describes the film as curiously detached, suggesting a mixed verdict. It singles out Christopher Plummer as the best thing about it. [Read](https://www.radiotimes.com/movies/all-the-money-in-the-world-spacey-replacement-christopher-plummer-is-the-best-thing-about-a-curiously-detached-film/) - **Evening Standard**, Guy Lodge (2/5): Lodge finds the film stolid and sluggish, with little perspective on its characters or their emotional pain. He praises Christopher Plummer’s seamless integration and sharply material portrayal of Getty. [Read](https://www.standard.co.uk/culture/film/all-the-money-in-the-world-review-emergency-plummer-cant-save-this-lackluster-drama-a3732881.html) - **The Guardian**, Simran Hans (2/5): Hans finds the kidnapping drama plodding and lacking urgency, with the ransom plot taking too long to become thrilling. She singles out the final third’s severed-ear scene and car chase for bringing some momentum, while noting the distracting recasting of J Paul Getty. [Read](https://www.theguardian.com/film/2018/jan/07/all-the-money-in-the-world-review-plodding) - **The New Yorker** (35/100, inferred): The critic finds the film detached and lacking psychological insight, despite its capable cast. Charlie Plummer brings pathos to the role, while Christopher Plummer gives J. Paul Getty an unexpectedly avuncular quality. [Read](https://www.newyorker.com/goings-on-about-town/movies/all-the-money-in-the-world) - **Slant Magazine**, Henry Stewart (1/4): Stewart finds the film a tasteless, manufactured thriller with little insight into its characters. He praises Michelle Williams’s convincing portrayal of Gail, while lamenting that she is sidelined and overshadowed. [Read](https://www.slantmagazine.com/film/all-the-money-in-the-world/) - **Deadline**, Pete Hammond (90/100, inferred): Hammond calls the film a must-see thriller and a true winner. He especially praises Christopher Plummer’s authoritative, wry performance as J. Paul Getty. [Read](https://deadline.com/2017/12/all-the-money-in-the-world-review-ridley-scott-christopher-plummer-michelle-williams-getty-kidnapping-video-1202230233/) - **Eye for Film**, Anne-Katrin Titze (85/100, inferred): The review is strongly positive, calling Christopher Plummer’s performance bone-chillingly perfect and praising Ridley Scott’s command of detail. It also singles out the film’s visual beauty and its incisive treatment of wealth, greed, and family. [Read](https://www.eyeforfilm.co.uk/review/all-the-money-in-the-world-2017-film-review-by-anne-katrin-titze) - **The Wrap** (85/100, inferred): The critic finds the film a compelling, morally weighted portrait of greed. Christopher Plummer’s portrayal of Getty is singled out as an indelible depiction of corrosive miserliness. [Read](https://www.thewrap.com/all-the-money-in-the-world-film-review-ridley-scott-christopher-plummer-getty/) - **HeyUGuys**, Stefan Pape (80/100, inferred): The review finds the film compelling and absorbing, with strong Oscar potential. It singles out Michelle Williams’s nuanced performance and praises Ridley Scott’s handling of the story’s pace and atmosphere. [Read](https://www.heyuguys.com/all-the-money-in-the-world-review/) - **Consequence**, Clint Worthington (75/100, inferred): The critic finds the film an unconventional, entrancing thriller that ultimately rewards its audience. He especially praises Christopher Plummer’s captivating performance, while noting that following the kidnapping victim’s story weakens the investigations’ suspense. [Read](https://consequence.net/2017/12/film-review-all-the-money-in-the-world/) - **Digital Spy**, Rosie Fletcher (70/100, inferred): The review finds the film somewhat slow and stretched but ultimately vital, with Christopher Plummer stealing the show. It especially praises his nuanced, charismatic portrayal of Getty despite the rushed reshoots. [Read](https://www.digitalspy.com/movies/a846763/all-the-money-in-the-world-review-kevin-spacey-christopher-plummer/) - **Collider**, Matt Goldberg (C+): Goldberg finds the film professionally made but ultimately incoherent and unable to deliver lasting impact. He praises Michelle Williams’s forceful performance, while faulting the story for not making her character more central. [Read](https://collider.com/all-the-money-in-the-world-review-christopher-plummer/) - **Den of Geek**, Don Kaye (3/5): Kaye finds the film polished and well-performed but ultimately unable to generate much passion, with its labored second half weakening the story. He singles out the clash between Michelle Williams and Christopher Plummer as the film’s strongest aspect. [Read](https://www.denofgeek.com/movies/all-the-money-in-the-world-review/) - **Paste**, Will Leitch (4.9/10): Leitch finds the film disjointed and frazzled despite its technical accomplishment and Scott’s storytelling skill. He praises the kidnapping scenes’ visceral intensity, but says Christopher Plummer’s rushed performance feels out of place. [Read](https://www.pastemagazine.com/movies/all-the-money-in-the-wolrd/all-the-money-in-the-world) - **The Ringer**, K. Austin Collins (25/100, inferred): Collins finds the film flat and stale, failing to turn its gripping true story into a taut thriller. He praises Christopher Plummer’s performance as Getty, though the character’s brief screen time leaves the movie’s seams and shortcomings in focus. [Read](https://www.theringer.com/2017/12/21/movies/all-the-money-in-the-world-film-review-ridley-scott-christopher-plummer) ## Details - **Director:** Ridley Scott - **Director:** Ridley Scott - **Writer:** David Scarpa - **Cinematography:** Dariusz Wolski - **Editor:** Claire Simpson - **Music:** Daniel Pemberton - **Production design:** Arthur Max - **Costume design:** Janty Yates - **Producer:** Ridley Scott, Dan Friedkin, Quentin Curtis - **Cast:** Michelle Williams as Gail Harris; Mark Wahlberg as Fletcher Chase; Christopher Plummer as Jean Paul Getty; Charlie Plummer as John Paul Getty III; Romain Duris as Cinquanta; Timothy Hutton as Oswald Hinge; Charlie Shotwell as John Paul Getty III (Age 7); Andrew Buchan as John Paul Getty II - **Runtime:** 2h 12m - **First release (Greece):** 21 December 2017 - **Genres:** Crime, History, Thriller, Drama - **Budget:** $50 million - **Box office:** $57 million - **Trailer:** https://www.youtube.com/watch?v=muk33nlCnQk ## Where to watch in the Philippines Not streaming, renting or buying in the Philippines at the last check. Also available in: AE, AR, AT, AU, BE, BR, CA, CH, CL, CO, DE, DK, ES, FI, FR, GB, HK, IE, IN, IT, JP, MX, NL, NO, NZ, PA, PL, PT, SE, TR, US. Add `?region=XX` to this URL for another country. ## Awards - Academy Awards 2018: Best Supporting Actor (nominated) ## If you liked this - *Dog Day Afternoon* (1975), Fi1m 90: Another true hostage case, this one sweaty, loud and far more interested in its people. — [Fi1m page](https://film.one/film/dog-day-afternoon.md) - *Trust* (2018): The same kidnapping as a series, with Donald Sutherland as a Getty who enjoys himself. - *There Will Be Blood* (2007), Fi1m 88: Oil money as a disease; Daniel Day-Lewis makes Getty look positively clubbable. — [Fi1m page](https://film.one/film/there-will-be-blood.md) - *Il Divo* (2008): Sorrentino on Italian power in the same decade, with the wit this film’s Rome lacks. - *Citizen Kane* (1941), Fi1m 93: The original rich man surrounded by things; shorter, and sure of what it thinks. — [Fi1m page](https://film.one/film/citizen-kane.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/all-the-money-in-the-world