Jodie Foster has done her ongoing directorial career no favours with her latest endeavour, Money Monster. It’s impossible to fathom how and why this embarrassingly predictable, poorly performed, woefully scripted, pedestrian thriller received a standing ovation upon its premiere out-of-competition at Cannes.
In February 2012, Bavarian authorities raided an apartment in Munich, wherein they found over 1,500 pieces of art stolen, or otherwise procured, by Hildebrand Gurlitt during World War II. Nearly two years passed before this discovery was disclosed by authorities and it was not until last week that a small portion of the haul was revealed to be on display at a top-secret location somewhere in Austria. For more than fifty years Gurlitt’s son, Cornelius, now in his eighties, hoarded the enormous collection and sold a piece or two at a time when in need of money.