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(I liked it better than most; you’ve got the option to read my reviewhere.)
), these productions are different from, but equal to each other.
But here, the humor is on a different wavelength.
Episode three, La Dolce Vita, is from John Paul Getty IIIs point of view.
Episode two, Lone Star, belongs to Fletcher Chase.
(I wouldnt have minded if the entire thing were told to us by Chase in Frasers deadpan drawl.
Beaufoy and Boyles humor is detached and quizzical, alternating grim fascination with mockery.
Even the camera flits about like an insect.
He writes them off as low-achieving sloths, oblivious to the fact that his parenting incubated their grownup worthlessness.
Paul seems sincere when hes talking to his grandfather, even though hes ultimately just looking for a bailout.
Funding a drug habit only encourages further abuse, he explains later.
Having Paul initiate his own kidnapping complicates the story, though not in a bad way.
This kid cant even play powerless even when heispowerless.
Hes more fruit from a rotten tree.
Acidic comedy carries the day.
Sutherland underplays the characters mind-boggling awfulness, which of course makes him all the more disturbing.
Over time, Boyles frequently tilted camera starts to feel like the cinematographic equivalent of a raised eyebrow.
asks Pauls father, John Paul Getty, Jr. (Michael Esper), a recovering drug addict himself.
Then he answers his own question: Nothing.
Then he concludes, But you knew that.
