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Longing for the American dream should never be inextricable from the determination of an individual. Dreaming about achieving a goal should go hand in hand with proactively doing it. Without veering off on a transcendentalist tangent, let me introduce Kenny Wells. Wells is a pot-bellied, greased up chain smoking alcoholic, perhaps uncomfortably seen as the heir to the throne of the Washoe Mining Company based in 'the biggest little city in the world' and where Johnny Cash sang of a prisoner shooting a man, 'just to watch him die'. The one and only, Reno, Nevada. So maybe I haven't painted Wells in such a great light so far. He certainly isn't the godchild of Emerson, but that's what director Stephen Gaghan appears to try and convey. This is Oscar winner Matthew McConaughey as you've never witnessed before, presented in a way that's far from an idealised sharp-suited image of the American dreamer and stoically opposed to Ron Woodward's skeletal frame in his winning performance in 2013's 'Dallas Buyers Club'. However, he's the film's gleaming treasure in a somewhat clichéd quest for glory, even if the main aesthetic shine is only from his forehead in an Indonesian jungle.

'Gold' is loosely based upon the Bre-X mining scandal of 1993 with Gaghan confusingly transporting us straight back to the 1980s to a world of questionable suits, post-punk, Iggy Pop and the romantic aspirations of Wells. His journey is somewhat instigated by the death of his father, luring him further into the volatile and unpredictable world of gold mining, conducting the train through its successes and abrupt halts. From the smoky testosterone filled bars of Reno to the sweat inducing tropics of Borneo, we realise how integral McConaughey's performance is to the success and believability of the narrative. Although somewhat charismatic through his wittiness and general naivety to the overall project, Kenny Wells is a man who is out to make money. Wells' sidekick, geologist Michael Acosta (Edgar Ramirez), is bestowed with elements of morality and spirituality, clearly seen in his proactive interaction with the Indonesian people. So therefore, Wells' financial determination combined with Acosta's endearing qualities and intelligence make the relationship such a strong focal point of the film. The strength of the characters makes the adventure seem almost tangible, yet still questionable.

Looking at McConaughey's transformation, you may just begin to question how Kaylene (Bryce Dallas-Howard) has fallen for such a downtrodden hopeless wanderer. However it's her innocent undying belief in him that makes Wells' decline even more forceful. There is an essence of the childhood sweetheart in her demeanour, the archetypal support mechanism to Kenny's weaknesses. Yes, she rides on the wave of success to its highest heights with Wells, lavishing herself in material riches but in a way, she is the moral spine of the film, never losing sight of the real Kenny Wells she's grown up loving. Kaylene acts just as much as the voice of reason as Michael Acosta and it is the combination of powerful relationships that we will really take away from the screen. The dizzying heights of financial success ultimately lead to a strenuous, yet somewhat predictable breakdown between Kenny and Kaylene and we can't help but feel like she is completely unworthy of any of it. Whiskey plus money plus the inability to maintain your dignity…. Well you know the rest. That's not saying Kenny Wells is a vile person, despite his, for want of a better term, shabby look. We're willing everything to work out for both of them, yet the American dream just becomes too much to handle.

McConaughey's character compared to the regimental sharp suited Wall Street bankers is a deliberate contrast by Gaghan. Our willingness for the sugar coated American dream to work out is pitted against the cold-hearted capitalist intentions of Brian (Corey Stoll). Wells' resilience to counteract an offer made by Stoll and his legion of top button fastened, tight tied troubadours, can only be admired. The ambition to fight against globalisation, to hold onto your dreams, to recapture lost determination and to let nothing stand in your way in fighting for what you want, is made believable through McConaughey's stellar performance. However, in what should be an adventure full of undying speed to keep up with the lustful desire for success, the film's narrative is too slow to match the pace of Wells' dreams. McConaughey is the glitter in a film without much gold.

A few years ago a performance like the one Matthew McConaughey delivers here in Stephen Gaghan's based on a true tale Gold would've created quite a stir.

It's a credit to the actor, who resurrected his career from the doldrums of so-so romcoms, Surfer Dudes and other forgettable affairs to all of a sudden become an Oscar winning and HBO headlining legend but with that career revival has come an expectation that McConaughey going method and fully inhabiting his characters is the normal and therefore less of an event that it was, a mere few years ago.

No more so evident than in the fact Gold came and disappeared with very little fanfare in the awards season rush at the end of 2016, McConaughey chewing up the scenery wasn't enough to draw people into the cinemas, as the beer bellied, hair thinning and sweaty thespian found himself being the best thing about a so-so film that never feels completely assured of itself.

Telling the rather complex story of struggling 1980's American prospector/mining magnate Kenny Wells, who found fame and wealth by teaming up with prospecting master Michael Acosta in the jungles of Indonesia, Syriana director and Traffic screenwriter Stephen Gaghan never pieces together the many various elements of Well's story into a satisfactory whole as events come and go and Well's journey takes its twists and turns.

As is with any film in the vein of Gold, it's always a fine balance for a filmmaker to strike the perfect line between pandering to an audience or keeping them in the dark and unfortunately for Gold there ends up being too many times where we're left in the lurch a little by the plights affecting Well's while some scenes in the film that feel hugely important to the whole scheme of things, often feel underutilised or passed over which leaves the trials and adversities of this American mogul emotionally unengaging.

What can't be denied in the film however is the aforementioned work of McConaughey, who's a joy to watch as Wells, the car crash waiting to happen.

In a loaded cast that includes an underused Bryce Dallas Howard as Well's long-suffering girlfriend Kay, Edgar Ramirez as Acosta, Corey Stoll as Wall Street player Brian Woolf and Toby (needs a new agent) Kebbell as FBI investigator Paul Jennings, McConaughey stands head and shoulders above the rest and while its far from his best turn over recent years, it's a quality actor that can deliver such above average performances on cue, as McConaughey does here.

Sometimes clad in nothing more than some worn-out white underpants or looking dishevelled beyond belief, McConaughey's turn as Well's deserves a better film and showcases what might've been for Gold had it managed to match the chaotic nature of its main character and the commitment of its on form leading man.

Final say –

Digging up another memorable McConaughey turn, Gold doesn't strike it rich due to tonal issues and a lack of emotional engagement but Gaghan's slightly disappointing film is still an often intriguing true story made all the better by the work of its leading man.

3 pot bellies out of 5

A cute, if too long movie that had me reaching for Wikipedia to check the truth.

McConaughey, Ramirez and Howard are all excellent.

A solid watch.

I actually thought this was a pretty good movie, despite the relatively low ratings. Both McConaughey and Ramírez played very well, also good to see Stoll in this movie. The story was entertaining, never a dull moment (unlike Moonlight, sorry, but that was really boring and I believed the rave reviews...). Anyway, it was worth seeing it!

First of, Gold is better than its IMDb rating and meta-score. I feel this movie is a victim of the studio going wild with a pair of scissors, trying to make it short(er) (even at 2 hours) to please the mainstream audience, but while doing that, this movie loses a lot of substance. Character development is lacking, apart from our protagonist, so it doesn't really feel like we get to know them. One moment we have a new (seemingly an important) character, and then he or she will either disappear or roam in the background. I guess that happens when you start cutting. I suspect there's a great version of this movie out there, and I'd rather watch a 3 hour version with everything included, than this. The movie also takes place in the late 80's(?) or early 90's, but I don't feel like time was important here, which makes things a little confusing. I have no idea if they've been at something for a week, a month, or five years.

The whole movie also feels a little rushed in the sense that it tries to get to the end as quickly as possible. It lacks the details; Slow down a little, speak to us, breathe. I want to know more, I want to see more, but it ends up being a National Geographic article instead of a book.

It's far from bad though, and it's an enjoyable watch. Just don't go in expecting a masterpiece.