Mountainhead: Succession's Creator Swings for the Fences – But Does It Hit the Mark?
Following the monumental success of Succession, all eyes have been on creator Tony McNamara. His latest film, Mountainhead, promised a deliciously dark and satirical take on the 'eat the rich' narrative – a genre that's been enjoying a significant spotlight in recent years. The premise is tantalising: a wealthy, eccentric family gathers to scatter the ashes of their patriarch, only to be held hostage by a group of disgruntled, masked individuals. The setup screams karmic retribution, and the potential for sharp social commentary is undeniable. Yet, does Mountainhead deliver on its initial promise?
The film certainly boasts a stellar cast – including Colin Farrell, Olivia Colman, and Jessica Barden – and McNamara's signature wit is present, albeit in smaller doses than we’ve come to expect. The initial scenes are compelling, establishing the dysfunctional dynamics of the family with a darkly comedic precision. We're introduced to a parade of spoiled, self-absorbed characters, each more insufferable than the last, practically begging for a comeuppance. The masked figures, led by a compellingly enigmatic Rhys Darby, initially appear to offer that catharsis, demanding a hefty ransom and disrupting the family’s carefully constructed facade of privilege.
However, Mountainhead gradually loses its momentum. The narrative becomes increasingly convoluted, bogged down in a series of meandering subplots and underdeveloped characters. While McNamara clearly aims for a surreal and unsettling atmosphere, the film often veers into incoherence, leaving the audience feeling disoriented rather than intrigued. The 'eat the rich' element, so central to the film's initial appeal, feels strangely muted, replaced by a more ambiguous and less satisfying exploration of grief, trauma, and the complexities of family relationships.
The film's pacing is another significant issue. It meanders through long stretches with little discernible purpose, and the moments of genuine tension or humour are often fleeting. While the performances are uniformly strong – Farrell and Colman, in particular, shine – they can't entirely compensate for the film's structural weaknesses. The satirical barbs, though present, lack the laser-like precision that made Succession so captivating. Instead, they feel scattered and ultimately ineffective.
Mountainhead isn't a *bad* film, but it's a disappointing one, especially given the pedigree of its creator. It's a film that promises a feast but ultimately serves up a meagre snack. It’s a curious case of potential squandered, a reminder that even the most talented filmmakers can occasionally stumble. The film’s ambition is admirable, but the execution falls short, leaving audiences wanting more – and perhaps a little hungry for the satirical bite they anticipated.
Ultimately, Mountainhead feels like a missed opportunity. While it offers glimpses of McNamara's brilliance, it ultimately fails to coalesce into a cohesive and satisfying whole. It's a film that will likely divide audiences, leaving some intrigued by its unconventional approach while others will be left scratching their heads, wondering what it was all about.
