Christopher Waltz, in GEORGETOWN, picks up his goofy character from BIG EYES (2014) right where he left off. He's becoming quite the expert at playing bombastic, sociopathic fabulists. Unfortunately, this particular stock character isn't enough to carry the movie as lead.
Overall, GEORGETOWN is watchable, but it never gains the kind of momentum that's inherent in its premise in spite of objectively good performances from Vanessa Redgrave and Annette Benning. The blame falls squarely on Waltz's shoulders as both director and lead actor. The situations that arise from the protagonist Ulrich Mott's delusions offer plenty of opportunity for suspense, but he fails to capitalize in both capacities.
Based on the true story of Albrecht Gero Muth, a DC grifter currently serving a 50-year sentence for murdering his elderly wife, GEORGETOWN could have been a much better film. Perhaps if Waltz had portrayed Mott with more menace rather than drawing him as a basic clown, the character could have commanded the screen. Instead, we have a cartoon that comes off as a supporting role writ large.
There's always a presumption of darkness in characters like Mott's, but Waltz never goes beyond the surface and, as a result, his portrayal lacks complexity and wears thin quickly. Viewers get no insight into why Mott is the way he is. Lacking much needed character development, his actions at film's end are unsupported and feel contrived.
In addition to (or maybe because of) the weak lead, the film's other elements never gel. In other words, the whole effort is mediocre at best. With a cast this good and a true story to back it up, GEORGETOWN is the very definition of a missed opportunity.
Overall, GEORGETOWN is watchable, but it never gains the kind of momentum that's inherent in its premise in spite of objectively good performances from Vanessa Redgrave and Annette Benning. The blame falls squarely on Waltz's shoulders as both director and lead actor. The situations that arise from the protagonist Ulrich Mott's delusions offer plenty of opportunity for suspense, but he fails to capitalize in both capacities.
Based on the true story of Albrecht Gero Muth, a DC grifter currently serving a 50-year sentence for murdering his elderly wife, GEORGETOWN could have been a much better film. Perhaps if Waltz had portrayed Mott with more menace rather than drawing him as a basic clown, the character could have commanded the screen. Instead, we have a cartoon that comes off as a supporting role writ large.
There's always a presumption of darkness in characters like Mott's, but Waltz never goes beyond the surface and, as a result, his portrayal lacks complexity and wears thin quickly. Viewers get no insight into why Mott is the way he is. Lacking much needed character development, his actions at film's end are unsupported and feel contrived.
In addition to (or maybe because of) the weak lead, the film's other elements never gel. In other words, the whole effort is mediocre at best. With a cast this good and a true story to back it up, GEORGETOWN is the very definition of a missed opportunity.