6.2 | / 10 |
| Users | 0.0 | |
| Reviewer | 4.0 | |
| Overall | 4.0 |
A damaging public inquiry tarnishes the image of a self-made fashion billionaire. To save his reputation, he decides to bounce back with a highly publicized and extravagant party celebrating his 60th birthday on the Greek island of Mykonos.
Starring: Steve Coogan, Isla Fisher, Asa Butterfield, Sophie Cookson, Shirley Henderson| Dark humor | Uncertain |
| Drama | Uncertain |
| Comedy | Uncertain |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 2.39:1
Original aspect ratio: 2.39:1
English: DTS-HD Master Audio 5.1
English, English SDH, French
Blu-ray Disc
Single disc (1 BD)
Region A (B, C untested)
| Movie | 3.5 | |
| Video | 4.0 | |
| Audio | 5.0 | |
| Extras | 2.5 | |
| Overall | 4.0 |
Writer/director Michael Winterbottom has always held a great interest in highlighting troubled times around the world, with the growing issue of economic disparity a popular topic of his pictures. With “Greed,” Winterbottom does away with any sort of subtlety, instead going for the throat with his vision of a billionaire celebrating his 60th birthday, with his grotesque life opened for study as a decadent party is planned in his honor. The material has its biting comedic moments, but Winterbottom is aiming for a more sobering depiction of the haves and have nots, constructing a briskly paced overview of unrepentant financial manipulation, workplace abuse, and the blind absurdity of privilege, reteaming with frequent collaborator Steve Coogan to assess the ruination of lives as the few retain everything they can get their hands on, while the many fight for survival.


With a large portion of the movie captured in the bright sunlight of Greece, "Greed" enjoys an impressive amount of detail during the AVC encoded image (2.39:1 aspect ratio) presentation. Skin particulars are crisp, highlighting the polish of the rich and the fatigue of the poor, and clothing retain a looser sense of cotton, while business attire registers with thickness. Beach vistas are dimensional, as is urban activity, while store visits deliver a full look at stock and signage. Colors are bright, including Richard's blindingly white teeth and deep tan. Island hues retain blue skies and water, and appealing greenery. Fashion shows and sweatshop tours provide deep primaries. Decoration also brings out a more varied palette, and the final party sequence showcases flashy concert lighting. Skintones are natural. Delineation is acceptable. Artifacting isn't a problem, but a late inning fire sequence in Sri Lanka explodes with posterization issues for a moment.

The 5.1 DTS-HD MA sound mix handles the "Greed" sonic experience with authority. Soundtrack cuts deliver big beats and support screen energy, and DJ performances during the closing sequence create intended celebratory excitement. Scoring cues are equally compelling. Dialogue exchanges are direct, clarifying accents and attitudes, while overlapping conversations are easy to follow. Surrounds deliver a sense of Greek beach life and room tone, and group activity is immersive. Naturalistic changes are also compelling, especially with rolling waves. Low-end is acceptable, with a little heft reserved for lion roars.


"Greed" goes all over the place, including a Parliamentary committee hearing where Richard defends his business practices, suggesting he's only one of many corporations eagerly avoiding tax responsibilities and taking advantage of the poor. Winterbottom isn't dealing with shades of gray here, offering a full color look at corruption and legal maneuvering, with Samantha living the high life in Monaco, a tax haven, representing the influence of the Panama Papers on the screenplay. The production makes salient points on financial horrors and exploitation, and the cast is marvelous, with Coogan born to play such a primal beast of a man, adding fake teeth and a bad tan for emphasis. Mitchell and Gohil are just as strong. Winterbottom can't maintain control of "Greed" for the entire runtime, turning subtext into text in the final act, which ruins the lasting effect of the material, but he's passionate about the subject, making a laudable attempt to introduce the private realm of abuse from the wealthy to a wider audience. Outrage is the final goal.
(Still not reliable for this title)

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