WALL STREET: MONEY NEVER SLEEPS

Photos courtesy of 20th Century Fox


Gordon Gekko gets a second chance on the market in Oliver Stone’s sequel, WALL STREET: MONEY NEVER SLEEPS

Michael Douglas, reprising his Oscar-winning role from the original, is Gekko, a financially successful, but morally bankrupt Wall Street trader who has just finished an eight-year prison sentence for money laundering and fraud. His return to society is welcomed by the press, with the release of Gekko’s new book, “Is Greed Good?”, but not by his estranged daughter Winnie, played by Carey Mulligan.

Winnie hasn’t forgiven dear old dad for his selfish ways, particularly the impact its had on their family. Winnie has moved on, and is now engaged to Jake, another Wall Street player, who finds Winnie’s father to be an intriguing figure to say the least. After attending a speech by Gordon, Jake decides to get to know his future father-in-law.


Of all the words to describe Oliver Stone films, pandering and tame are two which I never thought I’d use, but these two are the best to describe WALL STREET: MONEY NEVER SLEEPS.

In spite of some of Stone’s cinematic failures, his films have always provoked, entertained or both, but this sequel falls as flat as the Dow Jones average in late 2008. In addition to Stone’s lackluster direction, the film fails due to a script which merely regurgitates headlines from the financial collapse two years ago. Boardroom meetings, behind-door conflicts and market floor mayhem encompass the screenplay, but little seems at stake since the outcome is already known.

The real drama isn’t the market of course, but rather the personal relationships between Winnie, Jake and Gordon. This character-driven triangle doesn’t fare much better. Mulligan, who was terrific in last year’s AN EDUCATION, isn’t given much to work with. Her Winnie is sharp and determined, but is left with little to do but complain about the ill-effects of having Gordon as a dad. There’s little development of Gekko as a character, since it’s a reprised role, but for those who missed the first film 15 years ago, little is offered. That leaves us with Jake, whom the film is really centered around. LaBeouf’s Jake is already enamored with making money and trading, so his allure towards Gordon seems more natural than dramatic.

In spite of all the possibilities a WALL STREET sequel would have in our current state of affairs, Stone leaves several stones unturned, and somehow turns MONEY NEVER SLEEPS into a grand bore.

Grade: D+

THE TOWN

Photos courtesy of Warner Bros.


A Boston bank robber begins to mend his ways after falling for one of his victims in the thriller THE TOWN.

Ben Affleck co-writes and directs THE TOWN, and also stars as bank and armored car robber Doug MaCray. Doug has been raised in Charleston, MA, the bank robbery capital of the world. Doug’s mother left the family when he was little, and Doug’s father, a thief himself, has raised Doug in the same mold.

Doug and his fellow thieves knock off a bank, but unlike their other robberies, Doug’s friend Jimmy elects to take a hostage. The hostage, Claire, is the assistant bank manager. After the heist, Jimmy thinks its a good idea to monitor Claire, and make sure she doesn’t squeal. Doug insists he’ll see that doesn’t happen, but he has alterior motives.

THE TOWN sounds a lot like an old-time western, and this modern-day thriller feels just like one. Affleck, and co-writers Peter Craig and Aaron Stockard, establish the brains, brawns and bravado of both the good guys and the bad, so much so, that the lines between the two become blurred. Yes, we know that Doug and his childhood chums are on the wrong side of the law, but our sympathy for Doug, and the blind tenacity of FBI Agent Adam Frawley provide us with enough rooting interest to hope Doug finds his way out of a very sticky situation.

Affleck, much like actor-director Clint Eastwood, seems to have found a home behind the camera. His acting career has been hit and miss, but his directorial eye, and knack for establishing tone, setting and distinct characters, are making the GOOD WILL HUNTING alum a talent at delivering gutsy and real material.

As Affleck demonstrated with his directorial debut, GONE BABY GONE, and does so again with THE TOWN, he seems to get the most out of his performers. Not only is Doug one of Affleck’s better roles, but he also pulls terrific performances out of Jeremy Renner as Jimmy, Pete Postlethwaithe as smallbit crime kingpin Fergie and Rebecca Hall as Claire.

THE TOWN is a riveting thriller, delivering an updated Beantown western in the form of a crime drama.

Grade: B+

SCOTT PILGRIM VS. THE WORLD

Photos courtesy of Universal Pictures

A Generation Y man meets the girl of his dreams, but must battle her former love interests to win her heart in SCOTT PILGRIM VS. THE WORLD.

Michael Cera is the aforementioned young man, and title character, who desires the heart of Ramona Flowers, a young woman he meets at a party. Ramona’s beauty, style and allure makes Scott fall in love with her at first sight. Winning over a girl’s heart isn’t the only obstacle Scott faces, as he must fight off Ramona’s seven exes before he can become a potential number eight.

SCOTT PILGRIM VS. THE WORLD is based on a comic book, and writer-director Edgar Wright captures the style and attitude of the medium. The film is drenched in pop culture, from video game to television references, but instead of serving as its backdrop, the style and attitude more or less dominates the film’s narrative.

Each ex of Ramona’s serves as another level of a video game that Scott must win to advance to the final ex, or stage of the game. The film is an odd-mix, part romance and part action comedy, neither of which completely work. Each ex encounter provides a portion of the action comedy, but doesn’t provide a greater understanding of who Ramona is, by glimpsing into her past affairs.

The battles Scott has with Ramona’s exes serve as a momentary jolt to a film severely lacking in chemistry. Cera is fine, as is Mary Elizabeth Winstead as Ramona, but together the two don’t work. The differences between their characters makes the romance seem like a stretch, and Wright never allots enough quality time between the two to develop the tough-sell romance.

The talented Wright becomes overly indulged in the spirited, but redundant encounters between Scott and Ramona’s former boyfriends, and girlfriend. Instead of using the battles as a springboard to develop Ramona, and Scott and Ramona’s romance, Wright goes for stylized, yet superficial moments filled with action and so-called comedy.

SCOTT PILGRIM VS. THE WORLD substitutes style for substance, and delivers an underwhelming romance and action comedy.

Grade: C

THE AMERICAN

Photos provided by Focus Features

George Clooney begins to have second thoughts regarding his profession in the thriller THE AMERICAN.

Clooney is Jack, an assassin who travels across the globe to perform his assignments. Jack’s most recent job in Italy, just like all of his other hits, forces Jack to remain in proverbial isolation from others. While in Italy, Jack begins a relationship with Clara, a prostitute. What begins as a standard call-girl, client affair leads to a romance, and one which may compromise Jack’s latest job.

An independent, solemn, and yet thrilling character study, THE AMERICAN has been packaged as a standard thriller with Clooney at the helm. The fact that the film reached the top of the box office for it’s first week of release is a testament to Clooney’s star power and a successful ad campaign.

Although THE AMERICAN isn’t exactly what it appears, it is an intriguing and understated film about the disconnect between man and his surroundings. Jack’s violent escapades lead him across the map in search of his latest hit, visiting exotic and beautiful locales, women and cultures, none of which can be truly appreciated by the killer. Jack’s assignments don’t appear to be the most important thing in his life, but the only thing in his life.

Clooney portrays Jack as a cold and distant soul, not immune to life’s wonderments, but rather detached and frightened of the affect it may have if he chooses to embrace them. This makes for a compelling and often overlooked theme, but one more suited for an actor with a sharper edge. Although Clooney’s Jack is an engaging character, benefiting from the actor’s natural star power, the dark and distant side seems like too much of a stretch for one of Hollywood’s most eligible bachelors.

The film was directed by Anton Corbjin, who has an eye for both natural and human landscapes. By capturing the allure of both, THE AMERICAN creates a substantial atmosphere, one that even Jack comes to appreciate.

Grade: B-