Movie Review: A tech bro-pocalypse in Jesse Armstrong's 'Mountainhead'

San Francisco Chronicle​

2 days ago

'Succession' fans rejoice. Jesse Armstrong has again gathered together a conclave of uber-wealthy megalomaniacs in a delicious satire.
'Mountainhead,' which the 'Succession' creator wrote and directed, is a new made-for-HBO movie that leaves behind the backstabbing machinations of media moguls for the not-any-better power plays of tech billionaires.
Or, at least, three billionaires. Their host for a poker weekend in the mountains at a sprawling estate named after Ayn Rand's 'The Fountainhead' is Hugo (Jason Schwartzman), the solo member of the group not to reach, as they say, 'B-nut' status. His net worth is a paltry $521 million.
The others are three of the wealthiest men in the world. Randall (Steve Carell) is their senior, a kind of Steve Jobs-like mentor they all call 'Papa Bear.' Jeff (Ramy Youssef), who runs the world's leading AI company, calls Randall the 'Dark Money Gandalf.' Lastly, but maybe most notably, is Venis (Cory Michael Smith), whose social media platform boasts 4 billion users globally.
But the latest update to Venis' platform, named Traam, is causing havoc. As the four gather at Hugo's isolated perch in the Utah mountains, news reports describe violence sweeping across Asia due to an outbreak of deepfakes on Traam that have wrecked any sense of reality.
Yet what's real for this quartet of digital oligarchs — none of whom has a seemingly direct real-life corollary, all of whom are immediately recognizable — is more to the point of 'Mountainhead,' a frightfully credible comedy about the delusions of tech utopianism. Each of the four, with the exception of some hesitancy on the part of Jeff, are zealous futurists. On the way to Mountainhead, a doctor gives Randall a fatal diagnosis that he outright refuses. 'All the things we can do and we can't fix one tiny little piece of gristle in me?'
But together, in Armstrong's dense, highly quotable dialogue, their arrogance reaches hysterical proportions. While the cast is altogether excellent, this is most true with Smith's Venis, a tech bro to end all tech bros. As the news around the world gets worse and worse, his certainty doesn't waver. Earth, itself, no longer hold much interest for him. 'I just want to get us transhuman!' he shouts.
Progress (along with net worth) is their cause, and much of the farce of 'Mountainhead' derives from just how much any semblance of compassion for humanity has left the building. It's in the way Venis blanches at the mention of his baby son. It's in the way, as death counts escalate in the news on their phones, they toy with world politics like kids at a Risk board. In one perfectly concise moment, Venis asks, sincerely, 'Do you believe in other people?'
If 'Succession' filtered its media satire through family relationships, 'Mountainhead' runs on the dynamics of bro-styled male friendship. There are beefs, hug-it-out moments, passive-aggressive put downs and eruptions of anger. Part of the fun of Armstrong's film isn't just how their behavior spills into a geopolitical events but how it manifests, for example, in which room everyone gets.
All of 'Mountainhead' unfolds in the one location, with white mountaintops stretching in the distance outside the floor-to-ceiling windows. It could be a play. Instead, though, it's something that either hardly exists anymore or, maybe, exists everywhere: the made-for-TV movie.
There's no lack of films made for streaming services, but many of them fall into some in-between aesthetic that couldn't fill a big screen and feel a touch disposable on the small screen. But 'Mountainhead' adheres to the tradition of the HBO movie; it's lean, topical and a fine platform for its actors. And for Armstrong, it's a way to keep pursuing some of the timely themes of 'Succession' while dispensing lines like: 'Coup-out the U.S.? That's a pretty big enchilada.'