Greed, Family, and Deception: The Return of Gordon Gekko

"Wall Street: Money Never Sleeps", Oliver Stone's sequel to his 1987 classic "Wall Street", attempts to put its finger squarely on the pulse of American anger and anxiety that resulted from the economic meltdown of two years ago. And while there is really no significant insight to be gleaned from this film, it is still a blast, a gripping and sublimely acted success. In terms of social relevance, "Wall Street: Money Never Sleeps" sees modest results. But the movie is thoroughly engrossing and entertaining. Gordon Gekko captivated audiences in 1987 with his declaration that greed is good. Twenty-three years later, he still carries a magnetic aura, and audiences will be eager to reacquaint with him.

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The film commences in the year 2001, as Gekko (Michael Douglas) is being released from prison after serving an eight-year sentence. Flash forward to 2008, and Gekko has reestablished his place in the limelight. Still an economic guru, Gekko's book is a best-seller, and he has gone back to enjoying the fruits of a lavish lifestyle. His loneliness, however, has not subsided. Gekko lives a life of isolation, and his daughter Winnie (Carey Mulligan) hasn't spoken to him in years. Meanwhile, Winnie's fiancee Jake (Shia LaBeouf), a young hotshot power broker on Wall Street, is reminiscent of a young Gordon Gekko, with the same slick confidence and ambition. When the economy disintegrates, however, Jake is devastated by the suicide of his long-time mentor (Frank Langella). Jake blames an egotistical hedge fund manager (Josh Brolin) for his mentor's suicide, and he wants nothing more than to seek sweet revenge. In this endeavor, Jake goes to Gordon Gekko, his soon-to-be father-in-law, for advice. The two men strike an alliance, and Jake tries to repair Winnie's relationship with her father.

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If all of this sounds a little too busy, well, that's because it is. "Wall Street: Money Never Sleeps' lacks a coherent focus, and the film is too congested for its own good. Still, this movie works, and that is a testament to the actors. Shia LaBeouf gives far and away the best performance of his young career in the lead role, exuding effortless command on the screen. LaBeouf reminds us here that he is a damn good actor when he is not wrestling giant robots in those stupid "Transformers" movies. Carey Mulligan, fresh off an Oscar nomination for her work in "An Education", is wonderful, flawlessly portraying a woman struggling to reconcile her feelings of contempt toward her father with her evident desire to offer him forgiveness. Josh Brolin is terrific in a scene-stealing role as the film's villain. And in a small but pivotal role, the great Frank Langella is brilliant as an aging, deeply disillusioned Wall Street trader. As great as all of the aforementioned actors are, though, the best work is turned in by Michael Douglas. One of the greatest, most underappreciated actors in the world, Douglas is sensational here. In every scene in which he appears, Douglas commands the screen with incredible force. Twenty-three years after he won Best Actor for "Wall Street", Michael Douglas should receive another Oscar nomination for the same role in this movie. Both Douglas and the character that he so beautifully portrays remain as fascinating as ever.

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"Wall Street: Money Never Sleeps" is a flawed movie, but it is well worth seeing. While Oliver Stone's movie doesn't always hit the mark as a scathing social commentary, it is a richly satisfying popcorn picture, and I mean that as a compliment. "Wall Street: Money Never Sleeps" is never less than entertaining, and the audience will savor the results.

A Thrilling Mystery of Angst and Identity, Set to the Lush European Landscape

Contrary to its' title, Anton Corbijn's "The American" is a decidedly European endeavor. This film has a thoroughly European feel not merely because Europe functions as its' gorgeous backdrop, but rather because of its' slow-building, simmering suspense. This movie astutely resists the temptation that many American movies fall prey to, the temptation to create suspense via scenes of kinetic mayhem. The structure of "The American" is far more methodical, and in the end, far more rewarding. While it may test the patience of some viewers who thirst immediate gratification, I was transfixed by every frame. This is one of the best films of the year.

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George Clooney stars as Jack, an assassin who spends his days in a moody malaise, deeply dissatisfied with his work and in search of the essence of his true identity. The opening scene of the movie seems to infer that Jack has carved out a peaceful life with a beautiful woman in the beautiful wilderness of Sweden, but then danger and tragedy ensues. Jack is forced to flee to a small town in Italy, where he is skeptically received by many of the locals due to his American heritage. While in Italy, Jack becomes involved with another impeccable beauty, but he continues to live an uneasy existence. The very nature of his profession requires Jack to live a life of secrecy. Many of the people with whom he comes in contact, including a local priest who befriends Jack, question the secrets behind Jack's identity. In many ways, despite his dashing looks and incredible luck with women, Jack is a tormented soul.

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Jack is a character of intense fascination, and that is due in large part to the brilliant performance from the great George Clooney. In the last decade, Clooney has turned in amazing work in "Good Night and Good Luck", "Syriana", "Michael Clayton", and "Up in the Air", to name a few. And while his work in "The American" is significantly more restrained-----it's the quietest, most subdued work of Clooney's career-----it is every bit as satisfying. Jack is an introspective character, a character that requires the actor to do a lot of sad staring. In lesser hands, this character could have presented a major problem. But in the deft hands of Mr. Clooney, Jack carries powerful force. The supporting cast is also terrific. Violante Placido and Thekla Reuten are wonderful as the stunningly beautiful women in Jack's life, and Paolo Benacelli is a revelation as the elderly priest who befriends Jack and seeks to discover his secrets.

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As magnificent as the acting is, however, perhaps the most impressive aspect of "The American" is its' astonishing cinematography. This is certainly the most wondrous film to look at so far this year. Director Anton Corbijn does an amazing job of utilizing the stunning European landscape, and the results are nothing short of extraordinary. The beauty of the Italian scenery serves as a fascinating juxtaposition to the anguish that plagues Jack's existence.

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"The American" is not a film for the impatient. But it is a film for those who appreciate the fine art of suspense. I wish more films were this willing to take some time to establish tension. Anton Corbijn has crafted a spellbinding gem, a film that never lets you out of its' scintillating grip.