Unless you’ve been living under a rock for the past month everyone knows all about Ridley Scott’s 11th hour decision to recast Kevin Spacey, with Christopher Plummer in the role of J. Paul Getty in All the Money in the World. It’d be silly to recount the obvious reasons why, and would steal the focus on the movie. Needless to say it proves that everyone is replaceable in Hollywood. After reshoots last month this is now the definitive version of Scott’s film, and while All the Money in the World might not be up there with his best work it’s still a pretty solid, and entertaining thriller.

One thing can be said about Scott, he knows how to make a proper Hollywood movie. Here’s a workhorse director that’s churned out major budget films steadily for nearly 40 years. Scott turned 80 this past year, and his diverse filmography is daunting. It’s hard to find a director as versatile. With lavish period Oscar winning epics like Gladiator, to iconic pieces of movie history like Blade Runner and Alien, his movies often showcase movie stars at the peak of their stardom often with a strong female at its center. (Ripley, and Thelma & Louise anyone?) He has always been a superb storyteller, and making this movie back to back with Alien Covenant he clearly has no plans to go into retirement.

All the Money in the World looks at the events behind the real life kidnapping the 16-year old John Paul Getty III (Charlie Plummer) in 1973, and his mother Gail Harris’s (Michelle Williams) desperate attempt to negotiate with the Italian kidnapers with ex-CIA operative Fletcher Chase (Mark Walberg) at her side. All while trying convince the family patriarch J Paul Getty (Christopher Plummer) to pay the 17 million-dollar ransom after his initial refusal to pay.

The true story that was given some historic license for the purpose of a movie script comes together nicely in the hands of Scott, and screenwriter David Scarpa. Michelle Williams is great, approaching Gail as an audience surrogate in our introduction to the world of Getty’s, and what it’s like to find one’s self in a desperate situation where their child’s life is at stake. Even wearing Channel suits, and speaking in a mid-Atlantic society accent she still managed to be a commoner to the Getty’s. To her cold father-in-law she would always be an outsider despite how she carried herself.

The tragedy of a man like JP Getty was that his self worth was always measured by his bank account. Deep down he was probably a miserable man, but it’s hard not to see where Plummer’s cantankerous Getty is coming from in these circumstances. “I have 14 grandchildren. If I paid the 17 million-dollar ransom I’d have 13 more kidnapped grandchildren.” Getty declares to the press when asked about why he’s not cooperating with the kidnappers. Don’t they always say not to negotiate with the terrorists after all? For Getty it was on principle that he wouldn’t pay regardless if it were family.

It’s hard to picture anyone but Plummer in the role, and it’d be nearly impossible to tell that anything was reshot without knowing before hand. His scenes fit into the movie seamlessly. Both Plummer and Scott would be fun wild card picks come Oscar nomination time next year.

All the Money in the World might not be one of the best movies of the year, but one that’s definitely worth tracking down in the theaters this holiday season. Filled with memorable moments that are beautifully shot by cinematographer Dariusz Wolski it proves that Scott can always be relied on to deliver an exciting experience at the movies.