Guy walks into a TV studio with a suicide vest and a gun … Stop me if you’ve heard this one before. This is both current and Seventies, a flavourful account of working in TV on a show specialising on stock picking when it’s held to account by an aggrieved viewer who’s bet the farm and lost. It’s hosted by smarmy Lee Gates (George Clooney) who opens every episode doing an outrageous dance with two black go-go girls and some seriously offensive outfits. Julia Roberts is Patty, the voice in his ear who’s on directing duty when delivery man Kyle (Jack O’Connell) hovers behind the prop walls, puts the vest on Lee and a gun to his head and demands answers from Ibis, a company that Lee said was ‘safer than a savings acccount’ and lost $800 million in one afternoon. So there’s a quest to go after the CEO Walt Camby (Dominic West) whose own spin doctor (Caitriona Balfe) can’t locate him, the Korean drug and sex monster who created the algorithm and Icelandic hackers who help track down the plane and find Camby. This gets better and better as it goes along, with some outrageous humour, particularly when Kyle’s knocked up girlfriend goes mediaeval on him after being brought in to stop him: Lee says to Kyle, So you’re the calm one in the relationship. And it’s this moment that turns the film into something else, when Lee actually goes through a variety of Stockholm Syndrone and vows to get Camby to explain what human hands were on all that money gone, inexplicably… Of course there is one massive problem and that’s when the film takes to the streets and we lose the plot somewhat: Jack O’Connell is no Al Pacino (he’s great in 71, not this), there is no Attica! moment and his accent is wonky. Balfe, in a key supporting role, never even bothers with an American accent and sounds completely out of place. She has one huge moment at the end – and blows it by totally underplaying it. Wrong move. For this we must blame director Jodie Foster, an actress of literally legendary proportions. Clooney and Roberts are fantastic in a film that has instances of true hilarity but ends … rather predictably.