The 2007 financial crisis has left behind not only global financial destruction and economic distress, but also lingering rage among the masses still mind boggled about the particulars of just what hell caused so much upheaval. That rage fuels the fire of Adam McKay’s The Big Short, a well-intentioned misfire that somehow aims to clarify through cacophony.
Perhaps the clang and clutter of the film’s construction is intended to reflect the over-stimulated world that we find ourselves in today, where every bit of consumerism and media drives a culture of distraction that keeps us from noticing the rug being pulled out from under us, let alone how and who is doing the pulling. But the film distracts us much in the same way: cocaine editing and zipping eyesore handheld filming prevent any type of resonance with the subject. It’s simply too much and the film buckles under the strain of withstanding such recklessness.