Fans of “Inheritance” are delighted. Jesse Armstrong has brought together Uber’s elite circles of affluent individuals for a satirical feast.
“Mountain Head” is a fresh HBO film penned and helmed by the mind behind “Succession,” shifting gears from a media mogul’s betrayal narrative to the rivalries of a tech titan.
Or perhaps just a trio of billionaires. Their host for a poker retreat at an expansive property named after Ayn Rand’s “Fountainhead” is Hugo (Jason Schwartzman), a solo attendee who isn’t quite on their level, jokingly referred to as “B-Nut,” worth merely $521 million.
The other attendees comprise the world’s wealthiest individuals. Randall (Steve Carell), their elder and akin to a Steve Jobs-like figure, is affectionately dubbed “daddy bears.” Jeff (Ramy Youssef), a leader of a premier AI firm, labels Randall “Dark Money Gandalf.” Lastly, there’s Venice (Cory Michael Smith), who presides over a social media platform amassing 4 billion global users.
Meanwhile, recent updates to Venice’s platform, named Traam, have triggered havoc. As the group assembles in the seclusion of Utah’s mountains, reports reveal that the surge of deepfakes on Traam, which has blurred reality, is instigating violence across Asia.
Yet, for this elite quartet, the reality of their actions appears far removed. Aside from some hesitation from Jeff, each is a fervent futurist. While en route to Mountain Head, a doctor delivers a grim diagnosis to Randall, which he outright dismisses. “Is there nothing we can do but fine-tune the tiny components within me?”
As they engage in Armstrong’s sharply written dialogue, their arrogance escalates to comical levels. The cast shines, particularly in Smith’s portrayal of Venice, a tech-savvy buddy who outshines all the Tech Brothers. His confidence remains unshaken, even as global news worsens. “All we seek is transhumans!” he exclaims.
Progress, coupled with wealth, is the crux, and many of the comedic elements in “Mountain Head” arise from the lack of compassion for humanity that has gone awry. Venice’s comments about his infant son feel like a child’s reckless game of world politics, weaving through rising death counts with mobile news. In a particularly striking moment, Venice questions, “Do you believe in others?”
While “Inheritance” critiques media through familial ties, “Mountainhead” explores the dynamics of male friendships reminiscent of brotherhood. There are conflicts, moments of tenderness, passive-aggressive pauses, and bursts of anger. Part of the joy in Armstrong’s films lies in how their actions ripple into global affairs and the distinct personalities within the group.
The entirety of “Mountain Head” transpires in a single location, with towering snow-capped peaks visible through expansive floor-to-ceiling windows. This setting could be a game-changer. However, it subtly becomes a story that, while rooted in place, seems to linger like an ever-present shadow: a film created for television.
In an era where films for streaming services often teeter between artistic merit and forgettable content, “Mountain Head” adheres to HBO’s cinematic legacy. It delivers a deft, localized narrative, maximizing the actors’ talents and allowing Armstrong to delve deeper into themes that resonate with the essence of “Inheritance.”
The HBO release “Mountainhead” is not constrained by the Motion Picture Association’s rating system. Runtime: 109 minutes. Rating: Three out of four.
Source: apnews.com