Popularity: 4 (history)
| Director: | Jesse Armstrong |
|---|---|
| Writer: | Jesse Armstrong |
| Staring: |
| A group of billionaire friends get together against the backdrop of a rolling international crisis. | |
| Release Date: | May 22, 2025 |
|---|---|
| Director: | Jesse Armstrong |
| Writer: | Jesse Armstrong |
| Genres: | Comedy, Drama |
| Keywords | artificial intelligence (a.i.), snow, billionaire, group of friends, end of world, financial crisis, fake news, absurd, critical |
| Production Companies | HBO Films, Project Zeus, Hot Seat Productions |
| Box Office |
Revenue: $0
Budget: $0 |
| Updates |
Updated: Jul 23, 2025 Entered: Jul 02, 2025 |
| Name | Character |
|---|---|
| Steve Carell | Randall Garrett |
| Jason Schwartzman | Hugo 'Souper' Van Yalk |
| Cory Michael Smith | Venis Parish |
| Ramy Youssef | Jeff Abredazi |
| Daniel Oreskes | Dr. Phipps |
| Hadley Robinson | Hester |
| David Thompson | Leo |
| Ali Kinkade | Berry Oliphant |
| Ava Kostia | Paula |
| Alex Peña | Argentinian Business Leader |
| Amie MacKenzie | Janine |
| Larkin Bell | Nanny |
| Capri Eaton | Baby Sabre |
| Emmi Eaton | Baby Sabre |
| Name | Job |
|---|---|
| Susan Lyall | Costume Design |
| Francine Maisler | Casting |
| Ethan Borsuk | "B" Camera Operator |
| Sarah E. McMillan | Set Decoration |
| William Henry | Editor |
| MarSchelle Walker | Second Assistant Director |
| Richard Chavez | Stunts |
| Doug Ellis | Set Designer |
| Chase Coleman | Set Dresser |
| Mike Orme | Set Dresser |
| Gregor Tavenner | Steadicam Operator, "A" Camera Operator |
| Ben Haskin | First Assistant "B" Camera |
| Lisa Molinaro | Script Supervisor |
| Peter Deutscher | Boom Operator |
| Ariel Parker | Key Hair Stylist |
| Danica Warren | Key Makeup Artist |
| Lisa Clifford-Owen | Assistant Editor |
| Judd Hillman | Best Boy Electric |
| Ryan Roundy | Special Effects Coordinator |
| Jeff Johnson | Casting |
| David Van Dyke | Visual Effects Supervisor |
| Paul Cotterell | Sound Re-Recording Mixer |
| James Hayday | Sound Designer |
| Sam Biggs | Dialogue Editor |
| Barnaby Smyth | Foley Supervisor, Foley Artist |
| Stuart Bagshaw | Foley Editor |
| Stephen H. Carter | Production Design |
| Marcel Zyskind | Director of Photography |
| John Raymer | Gaffer |
| Frasier Perez | Stand In |
| Jill Footlick | Unit Production Manager |
| Brian Finn | Stunts |
| Molly Mikula | Supervising Art Director |
| Michelle Fairbank | Assistant Property Master |
| Lance Clayton | Set Dresser |
| Maya England | Set Dresser |
| Chris Daniel | First Assistant "A" Camera |
| Kurtis Burr | Second Assistant "B" Camera |
| Ken Ishii | Production Sound Mixer |
| Alyssa Carnazza | Assistant Costume Designer |
| Shalyse Lopez | Makeup Department Head |
| Jake Robertson | Assistant Editor |
| Shawn Lacy | Best Boy Grip |
| Amber Wakefield | Casting Associate |
| Gumby Kounthong | Extras Casting |
| Oliver Cubbage | Visual Effects Supervisor |
| Tom Jenkins | Sound Designer |
| Milos Stojanovic | Dialogue Editor |
| Keith Partridge | Foley Mixer |
| Jesse Armstrong | Director, Writer |
| Matthew Streatfield | First Assistant Editor |
| Christo Morse | First Assistant Director |
| Dean Wares | Title Designer |
| Megan Danner | Hair Department Head |
| Mark Davies | Editor |
| Frank L. Bare II | Stunt Coordinator |
| Wray Featherstone | Property Master |
| Sierra Saez | Set Dresser |
| Jake Saez | Set Dresser |
| Matthew Leslie | Second Assistant "A" Camera |
| Macall B. Polay | Still Photographer |
| Andrew Ahlstrom | Utility Sound |
| Jorie Coontz | Additional Hairstylist |
| Sheridan Sheperd | Makeup Artist |
| Rob Eden | Assistant Editor |
| Al Stoddard | Key Grip |
| Molly Rose | Casting Associate |
| Robert Milo Andrus | Casting Associate |
| Colin Dunning | Visual Effects Producer |
| Matthew Skelding | Supervising Sound Editor |
| Zoltán Kadnár | Sound Effects Editor |
| Joshua Stanway | ADR Editor |
| Rebecca Glover | Foley Artist |
| John Finklea | Music Editor |
| Nicholas Britell | Original Music Composer |
| Name | Title |
|---|---|
| Frank Rich | Executive Producer |
| Mark Mylod | Executive Producer |
| Tony Roche | Executive Producer |
| Christo Morse | Co-Producer |
| Jesse Armstrong | Executive Producer |
| Lucy Prebble | Executive Producer |
| Will Tracy | Executive Producer |
| William Henry | Co-Producer |
| Sophie Esslemont | Associate Producer |
| Jill Footlick | Executive Producer |
| Jon Brown | Executive Producer |
| Katy Bishop | Co-Producer |
| Katrina Whalen | Co-Producer |
| Organization | Category | Person |
|---|
Popularity History
| Year | Month | Avg | Max | Min |
|---|---|---|---|---|
| 2025 | 1 | 1 | 1 | 0 |
| 2025 | 4 | 2 | 4 | 1 |
| 2025 | 5 | 2 | 5 | 1 |
| 2025 | 6 | 44 | 133 | 8 |
| 2025 | 7 | 7 | 10 | 4 |
| 2025 | 8 | 3 | 5 | 2 |
| 2025 | 9 | 4 | 5 | 3 |
| 2025 | 10 | 4 | 6 | 3 |
Trending Position
| Year | Month | High | Avg |
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| 2025 | 10 | 416 | 728 |
| Year | Month | High | Avg |
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| 2025 | 9 | 55 | 515 |
| Year | Month | High | Avg |
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| 2025 | 8 | 156 | 594 |
| Year | Month | High | Avg |
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| 2025 | 7 | 35 | 284 |
"Moutainhead"aspires to be more, than it reasonably achieves. In one sense its an exercise in moral relativism. Moral judgements for four wealthy tech executives are only true or false, when viewed from their perspective, which is mired in hyper capitalism. For them, morality is grounded in the ... ruthless pursuit of individual wealth, allegedly to leverage technocratic human evolution (trans-humanism). When one of them challenges this world view, during a rich pals getaway, things turn darkly comical. You can see the rather understated critique of the modern obsession with an on line life this film presents. A place where truth is allegedly manufactured, not told. The gleeful, almost childlike immaturity, wilful recklessness and narcissism, of those who have built it. Also on a certain level, the tech elites uselessness. One can't even boil an egg. So much for the value of social media, right? Well yes and frankly, "no". This film overplays its hand. It tries to promote the mainstream media as a source of truth, when in fact, people have turned to social media precisely "because" of mainstream journalism's unwillingness, to tell truth to power. In spite of its flaws, social media has given genuine investigative journalists and courageous whistle blowers, a platform to expose the malfeasance of corrupted power. Something this film, rather too conveniently, overlooks. In summary, this is not a bad film. As a mild, dark comedy, it very reasonably makes wholly valid points about social media and by extension, big tech's, shortcomings. Where it falls short, its its inability to tell the other side of the story. In vogue labels, like "misinformation", so popular with glib politicians and the less than transparent mainstream media, could as easily be applied to them, as they could, the high tech, on line world and those who built it.