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Greed (2020)

GREED tells the story of an Indian man who gets deeper and deeper involved in the Australian gangland underworld. He only wants to get enough money to go back to homeland to rescue his parents from abject poverty, but is forced to make increasing difficult decisions that go against what's left of his conscience. How far is too far when one tries to reach his noble goal? GREED is an epic film tribute to Francis Ford Coppola's The Godfather, a story of family relationships, intrigues and betrayals set against a violent world where nothing is legal, but where everything is possible.

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TVJerry 09 Mar 2020

The film looks like it's gonna be a smart satire, but ends up being a sharp indictment of the fast fashion industry. Steve Coogan stars as a smarmy, self assured billionaire who's made his fortune selling cheap clothes. Much of the movie revolves around the extravagant 60th birthday party he's throwing for himself, but the timeline also bounces between his history of unscrupulous deal making and a public inquiry that's threatened his fortune and reputation. While the movie is set up to look like a witty send-up (common territory for director Michael Winterbottom), this film, and the rich people who populate it, are mostly mean-spirited, insensitive and entitled. The side stories about their disregard for the poor and struggling begins to overshadow the fun. As a result, the film ends up being a bleak condemnation of the lust for money over humanitarian considerations. There is even a parade of condemning statistics at the end.

David Fear 25 Feb 2020

You’re left to wonder whether you’ve watched a freshman college course with laughs, or a failed comedy with a lecture surgically grafted on to it.

Marjorie Baumgarten 04 Mar 2020

Despite the bright spots of humor provided by the film’s game actors, Greed chintzes on unexpected barbs. Its satire hits every target but the film never aims at anything that doesn’t already have a giant target on its back.

Allan Hunter 11 Sep 2019

Winterbottom delivers a heady cocktail of absurdity and profundity, laced with a generous measure of cutting one-liners in a film that builds into a scathing commentary on a world where the rich keep getting richer and the poor are merely collateral damage.

Mauro_Lanari 17 Jan 2022

Among the many negative consequences of the pandemic there is also the disappearance of independent cinema: by now financiers, producers, distributors belong to the streaming giants and consequently can no longer be attacked, much less the political-economic system that legitimizes them, the neoliberal aka turbocapitalist one. Winterbottom's film does what little is still possible to do: it alludes to them, explains the difference between tax evasion and avoidance (allowed by a specific legislation), shows Monte Carlo as one of the many offshore havens not abroad in some remote Caribbean island but here in Europe, but then he is forced to take it out on an intolerably too small fish.