Following a fairly accurate description on how the 2008 financial crisis came about, this picture tries to demonstrate what the scheming banks that bundled worthless paper did back then and come up with a different outcome. That folks, is pretty much the definition of insanity.

For this viewer, the picture collapsed right after pretend banker Charles Burbury (Kelsey Grammer) made that disastrous purchase of two hundred million shares of Nurgistan Gas. Rival companies, in their quest to win control over Burbury's Tuftons Bank, involved themselves in convoluted schemes that leave one in the dust in regard to their machinations. It would be hard to follow the story line even if you were a financial wizard or a hedge fund manager. Too bad, because the cast seemed up to the task, but the plot descended into the murky waters of short selling and corporate intrigue.

Even so, a couple of one-liner gems came out of this picture that were memorable. I liked Charles Burbury's definition of working 24/7 - twenty four hours a week, seven months a year! And the following quote offers good advice for anyone undergoing a rough patch in their own lives - "If you're going through hell, keep going!" I'm going to use that one. Probably both.

In "Breaking The Bank," a narrative rich in quaint English customs and archaic class distinctions unfurls, casting Kelsey Grammar as the perfect embodiment of Sir Charles Bunbury's bumbling and fortuitous ascent to the chairmanship of Tuftons bank. His marriage to Penelope, portrayed with caustic brilliance by Tamsin Greig, underscores the film's core theme - the paradoxical limitations imposed on her due to her gender within a society that deems her fit for such a significant role.

Set against the backdrop of Tuftons' precarious standing in the financial landscape, the plot takes a gripping turn as the smarmy American entrepreneur Richard Grinding, played with appropriate flair by John Michael Higgins, seeks to orchestrate a takeover. Simultaneously, an honorable Japanese bank, under the leadership of Nakamura (Togo Igawa), presents a compelling alternative.

The heart of the narrative unfurls as Charles, buoyed by his slick trader confidant Nick (Matthew Horne), makes a risky investment in oil stocks as a bid to alleviate the bank's mounting pressures. Unsurprisingly, this reckless move precipitates a chain of financial catastrophes, culminating in Charles' ousting from the bank and the estrangement of his wife Penelope, who inadvertently incurs losses due to his ill-fated actions. Even their daughter Annabel (Sonya Cassidy) distances herself from the family's wealth.

Charles, grappling with despair, contemplates ending his life but is unexpectedly interrupted by Oscar (Pearce Quigley), a vagrant whose eccentricity draws him into an unlikely friendship. In Charles' absence, Richard takes control of Tuftons and initiates a charm offensive to persuade Penelope to join him, albeit at the cost of her shares in the bank.

Kelsey Grammar's portrayal of the inept Sir Charles, who stumbles into privilege, is a testament to the film's charm. Tamsin Greig, as Penelope, commands attention with her sharp wit, particularly in her exchanges with the conniving Richard Grinding. John Michael Higgins' performance strikes the right balance between charm and hamminess. Pearce Quigley, as Oscar, introduces an intriguing contrast with his unpredictable blend of vagrancy and moments of remarkable clarity.

These pivotal characters anchor the film, bolstered by a skilled ensemble cast and a narrative that is both engaging and accessible. "Breaking The Bank" offers a well-paced and impeccably acted comedy, delivering an enjoyable cinematic experience well worth the investment of a hundred minutes, earning a commendable rating of 6 out of 10.

Nothing profound, not deep, just fun to watch, and had the Director mixed the sound better, would have been more fun. But they allow the music to play so loudly over the voices in too many people, that you miss what was said and it is more than annoying! Dialog should not be competing with music people! Please stop it. We should not have to struggle to understand what has been said. What is the point?

It is fun, that's all. If you really try to critique it, it becomes more work than watching it. It's primary value is to counter the dread of the daily news, and it does that well.