Mountainhead: A Lackluster Billionaire Satire That Fails to Captivate

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Analyzing Mountainhead alongside Succession is beneficial not only because they share the same creator, Jesse Armstrong, but also because they seem like relatives, both delving into the world of billionaires using similar stylistic and satirical perspectives. While the former concentrates on media, the latter explores technology, suggesting that Armstrong had more to express following his work on Lukas Matsson’s storyline in Succession.

Similarly to the Roy family, the two main characters seem unequal. Despite its strengths, I found it hard to become invested in Mountainhead, and contemplating Succession has provided insight as to why. It’s not because the show lacks potential – there are fundamental decisions within the film’s narrative that hamper its effectiveness as a dramatic piece. Without a solid foundation, I question whether its themes necessitate a fictional presentation when real-life tech billionaires have been quite open about exposing their distorted personalities in recent times.

Mountainhead Has A Strong Satirical Setup

And Armstrong’s Approach To Dialogue Is An Asset

In our story, we find ourselves introduced to the characters of Mountainhead at a pivotal moment when two significant incidents intersect. One is a mounting worldwide predicament: Venis (Cory Michael Smith), the wealthiest individual on the planet, has recently implemented an AI-enhanced suite of features onto his social media platform. These tools, capable of producing convincingly deceptive images and videos, are causing chaos in the dissemination of facts and inciting violence in numerous countries. Despite these atrocities, Venis remains undeterred, but his board appears to be growing uneasy.

The second event taking place is a poker night among four wealthy acquaintances known as the Brewsters. Among them are Venis, Jeff (portrayed by Ramy Youssef), Randall (played by Steve Carell), and Hugo (characterized by Jason Schwartzman). Jeff, who seems to lean more towards progressivism but has a grudge against Venis, is rapidly accumulating wealth due to an exceptionally intelligent content moderation AI. Randall, the oldest of the group and a mentor/investor to both Venis and Jeff, finds himself grappling with his incurable cancer diagnosis while harboring a deep-seated belief that he will live forever. Lastly, Hugo, the one with the least wealth among them, bears a nickname I’d rather not put into words.

The Brewster family is assembling at Hugo’s recently constructed residence in Utah, each with a hidden agenda. Hugo is eager to seal a $1 billion investment for his mental health app, primarily for the bragging rights of becoming a billionaire himself. Venis has hinted that Jeff will sell his AI business, while Jeff intends to question Hugo about the disturbances caused by his product. Moreover, Randall plans to urge Venis, his star protege, to expedite the transition towards becoming post-human and transferring our consciousnesses into the digital realm.

As I settle into my seat, the rich soil for satire quickly becomes apparent, making it easy to understand why Armstrong’s unique style aligns perfectly with this material. His characters, draped in a thick layer of jargon, offer no handholding, partially for authenticity and partially to drive home just how absurd their words sound.

Witnessing these self-proclaimed bro-tribes bumble their way through discussions about launching coups on vulnerable nations (because, of course, they could manage things better) is both entertaining and unsettling. It’s a fascinating spectacle to watch them realize that their wealth and influence are indeed sufficient to turn their fantasies into reality.

I Needed Something More From Mountainhead Than The Commentary

And The Character Drama Doesn’t Deliver

To put it another way, the swift production of “Mountainhead” (if the reports are accurate) may have seemed forward-thinking a year ago, but recent events have made it clear that the world’s wealthiest individuals have already been exposing their dark intentions. Apart from the humor, I’m unsure if this fictional portrayal offered anything new compared to what we’ve seen in reality.

If Mountainhead was going to work for me, it needed to excel in other aspects. One of the strengths of Succession lies in its dramatic depth, which is almost Shakespearean. Although the Roys and their lives may be unfamiliar to most, the familial strife at the heart of their characters is universally relatable. Unfortunately, Armstrong doesn’t quite manage to recreate that here. The characters in this story might share wealth but never felt like genuine friends. Any deviations from that friendship dynamic didn’t resonate as effectively.

One significant aspect that stands out is that we spend nearly the entire film with just the Brewster family. The actors do a great job embodying their characters, but they lack contrast with ordinary life to fully appreciate their performances within context. The movie tries to establish Jeff as an isolated figure for a while, and Youssef’s role provides a refreshing change. However, he, too, seems to fit in perfectly. While it’s thematically appropriate to keep them detached from reality, the film suffers from lacking a solid anchor that could have greatly benefited it.

I find it fascinating that Armstrong opted for a style reminiscent of Succession for his first feature film directing role. Although I notice a penchant for intimate camera angles and lengthy shots, from a stylistic perspective, he doesn’t seem to make significant efforts to distinguish Mountainhead from other films. I eagerly await his next directorial project, hoping it will provide a more distinct insight into his filmmaking identity.

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2025-05-29 01:10