. . . ALL THE MONEY IN THE WORLD, you'll be able to compare and contrast the American oil billionaires of Yesteryear such as the former's J. Paul Getty with the cultured Emirate-style Oil Titans of Today (the first of whom is doubtless GAMBIT's "Ahmad Shahbandar). ALL THE MONEY documents J. Paul with an essentially infantile relationship to Great (that is, expensive) Art. He lacks the acumen to differentiate an Ancient Minotaur carving worth $1.2 million in 1960s dollars from a fifteen-buck museum gift shop souvenir knock-off. As he pathetically paws a priceless masterpiece while drooling in his dying pose, viewers would not be surprised to hear J. Paul slobber out "Rosebud" as his final lament. Mr. Shahbandar, on the other hand, knows his Rembrandts from his Picassos, and takes great pains to safeguard the well-being of the World Heritage Cultural Milestones his great wealth has entrusted to his care. Most of the Gettys and other Fat Cat American Billionaires feature such missing body parts as ears, hearts, and brains, ALL THE MONEY shows. Conversely, GAMBIT illustrates that Aladdin will polish as many lamps as you can give him.

A total classic from the swingin' sixties, Gambit stars two absolutely adorable people: Michael Caine and Shirley MacLaine. In 2012, there was a pretty funny remake, so if you liked that one, you'll probably want to watch the original, too.It's a little embarrassing, but I actually found the plot a little confusing. But if you like spy movies or heist movies, you probably won't get lost and will find it even more entertaining! For me, I liked it because I liked the two stars.It's a perfect representation of the decade, so if you liked the Austen Powers movies, you'll get a big kick out this one—yes, the 60s really were like that! And if you like movies where likable crooks and con-men create foolproof plans that go awry, you'll definitely like this one.

A corkscrew picture with so many twists and turns you may need to take notes. I love the screenplay idea that first shows how the theft is supposed to go, and then shows how it really goes. Very imaginative and a perfect set-up for comedy. As it is, the movie's a rather light- hearted caper film where everybody outwits everybody else, but no one really gets hurt.Caine's perfect as the conniving English gentleman. Besides no one wears upscale suits as well as he. MacLaine too is a dazzler in her many gowns; let's just hope they weren't paying her by the word. Note how athletic she is, a skill from her days as a dancer, I suppose. It's sort of good to see the scary Herbert Lom as the Big Cheese rich guy. I'm troubled, however, because his commanding presence always makes me bolt from the chair and stand at attention.Anyway, there are echoes here from 1964's Topkapi, but this one's more plot heavy. Then too, I can't decide whether that very last twist is just one too many or a perfect way to end a corkscrew film. All in all, it's an imaginative heist movie at a time when there were lots, but this one's as good as any. Besides, I nominate Caine and MacLaine as the eye-catching couple of the decade, or maybe longer.

MICHAEL CAINE was hot after appearing in THE IPCRESS FILE and SHIRLEY MacLAINE grabbed him for her leading man in GAMBIT. It's a highly entertaining and very clever crime caper and is Caine's first American film. It benefits from highly polished production values and Ronald Neame's expert direction, not to mention a story that has several unexpected twists.Aside from excellent performances by the two stars and Herbert Lom as the intended victim, the plot will keep you guessing until the final moments. Shirley is a knockout in her oriental disguise and delivers a wonderful performance as the girl who discovers she prefers an honest man to a thief, no matter how much she let herself be tricked into the role of a charming look-alike for Herbert Lom's former wife. The trick is to get into his lavish digs so she and Michael can see the layout and devise a plan to steal a prized sculpture. Herbert Lom is urbane and sophisticated as a man who is highly suspicious of his new acquaintances.If you like crime capers or jewel heists, this is for you. Diverting from start to finish with a particularly good opening sequence that sort of sets you up for a different kind of film than this actually is. But saying more than that would give too much away.My only complaint--Maurice Jarre's score is a skimpy one. He provides some light and catchy melodies for the lighter scenes but fails to deliver the goods for the film's darker moments. Maybe he figured the audience would just be holding their breath while silence accompanied the cat-like burglar approach rather than music. Whatever, the darker moments would have been heightened by a more suspenseful score.John Abbott is seen to advantage as a French sculptor devoted to his art.