Arbitrage


Arbitrage

"Richard Gere is a handsome man but he ain't no Tim Robbins"

(2012) Drama (Roadside Attractions) Richard Gere, Susan Sarandon, Tim Roth, Brit Marling, Nate Parker, Laetitia Casta, Josh Pais, Monica Raymond, Stuart Margolin, William Friedkin, Bruce Altman, Evelina Oboza, Larry Pine, Curtiss Cook. Directed by Nicholas Jarecki

 

All of us have some sort of moral code, ethics which guide us in our decision making process. Now those ethics might completely revolve around self-interest, or perhaps have some inkling of the greater good somewhere deep down. It is truly disturbing how easily our moral compasses can slowly shift from true north into a different direction.

Robert Miller (Gere) is a Wall Street icon. He’s built one of the most profitable and respected firms in the world, is a billionaire many times over. Now as his career is winding down, he has much to be grateful for. He is in the midst of selling his company, after which he’ll semi-retire to spend more time with his family. His daughter Brooke (Marling) is the CFO of his company and has proven to be as brilliant as he, a worthy successor to his mantle if that’s what she chooses.

But life isn’t always what it seems. Miller has had enormous losses from a failed copper mine in Russia, losses he’s covered with capital from his own company, an SEC no-no. In order to cover those losses, he’s had to borrow money to make the books look rock solid so that the merger can go through. Miller has also been cheating on his wife Ellen (Sarandon) who is busy running their charitable foundation with Julie Cote (Victoria’s Secret model Casta).

It all begins to spiral out of control when a tragedy forces Miller to lie to his wife and the police about his whereabouts. The son of his deceased chauffeur, Jimmy Grant (Parker) comes to his rescue and finds himself in the crosshairs of eager detective Michael Bryer (Roth) who smells the lies several miles away and is making it his mission to nail Miller, willing to do anything – including ruin Grant’s life – to get what he wants. In the meantime, the clock is ticking on that multi-billion dollar merger.

Jarecki has an understanding of the financial industry and the titans who run it (his father was one) and brings it to life here. Often these days Wall Street corporate sorts are made the villain and the scapegoat in movies like this; certainly on paper it sounds like Robert Miller is a monster, given his attitude towards others and himself. Miller does some things that are awfully callous and yet you still like the guy and root for him to come out ahead – which is odd, because considering what guys like this did to the country you might want Miller to pay for his crimes tenfold. Chalk it up to Gere’s natural charisma.

Richard Gere is definitely the main reason to see this; he has delivered his best performance in 20 years, maybe ever. Gere is one of the few actors in Hollywood who is able to do thoroughly despicable things onscreen and yet become the rooting interest. That he does so here considering the economic climate is a tribute to his talents. Only Richard Gere could make us root for a philandering, cheating, lying, deceitful scumbag of a Wall Street CEO.

Marling does very well as Gere’s brilliant daughter. She is less vulnerable here than she was in Another Earth which might have been a better acting performance on the surface, but she’s holding her own with some acting heavyweights and makes her character the moral center of the piece and carries it off well. She’s a talent worth keeping your eye on – I think she’s got a brilliant future ahead of her.

Tim Roth plays a character not unlike the one he doses in “Lie to Me” although Det. Bryer is a little bit more edgy, a little more high-strung. His scenes with Nate Parker are some of the best in the movie. Parker is another talent with sky-high potential; he infuses Jimmy Grant with dignity as a former con trying to get his life back together again.

Jarecki has written an interesting script that keeps you on the edge of your seat at times. Absolute power corrupts absolutely and in Miller’s case, that old adage is certainly true. He may be a wealthy man but he is not rich. This is more than a fall of the rich and powerful parable, or a commentary on the callousness of the bussiness-ocracy that is running our country de facto these days.  It is also a morality tale on how the corruption of an individual can come in a subtle and seemingly harmless way – and then before they know it wreak complete and irrevocable change on that person’s soul.

NOTE: This movie was premiered at Sundance earlier this week and was screened at the Enzian Theater in Maitland, Florida as part of the Sundance Festival USA program in which films from the Festival were brought to nine theaters around the country. While at Sundance, the film was picked up for distribution by Lionsgate/Roadhouse Attractions and will be released sometime later this year, in all likelihood on a limited basis.

REASONS TO GO: A gripping story of moral compromise. Outstanding performances by Gere, Parker, Roth and Marling. Looks like a movie that cost much more to make than it did.

REASONS TO STAY: You might find yourself hating yourself for rooting for such a rotten guy as Robert Miller.

FAMILY VALUES: There is some sexuality and plenty of bad language. There is a disturbing image involving a car accident as well as some drinking and drug use.

TRIVIAL PURSUIT: Nicholas Jarecki’s dad Henry has been a commodities trader, psychiatrist, entrepreneur and was the co-founder of Moviefone; two of his siblings (Andrew and Eugene) are also film directors and Eugene is likewise debuting a film at Sundance this year (The House I Live In).

CRITICAL MASS: As of 1/28/12: Rotten Tomatoes: 100% positive reviews. Metacritic: N/A. Too soon to tell as the movie has yet to be released and has only played thus far at Sundance.

COMPARISON SHOPPING: Margin Call

WEALTH LOVERS: The scenes in the townhouse where Robert Miller lives were filmed in the home of director Jarecki’s father which has been called the most expensive home in New York remaining in private hands.

FINAL RATING: 8/10

TOMORROW: Red Tails

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A Beautiful Belly


A Beautiful Belly

Director Andrew Kenneth Gay (right) sets up a shot.

(2011) Dramedy (Candle Fish) Chris Worley, Lauren Brown, Michele Feren, John William Wright, Amy LoCicero, Peyton Lee, Raymond D. Sweet, Randy Molnar, Susan Morgan, Melissa Gruver. Directed by Andrew Kenneth Gay

One of the most important parts of the human experience is procreation. Our species requires it to survive, and in nearly every relationship the purpose of having children is at least an important aspect of why we get together.

Jason Ackhart (Worley) used to be a music teacher at a local elementary school until his position was eliminated. He yearns to be a children’s music performer, and has taken up the persona of Captain Jellyfish to perform at parties and such. He is married to Danny (Brown), a bartender and best friend of Rachel (Feren) who is married to Jason’s brother Will (Wright). Jason got Danny pregnant on their first date after a bible study class (Jason isn’t much of a believer but he had a thing for Danny so he went) and so the two decided to marry.

Will and Rachel have a preschool-age daughter that Jason dotes on but he is a little less sanguine about his own impending fatherhood. He hasn’t touched Danny in months and she is feeling unsexy, unwanted and a little unsure as to whether their marriage is going to survive. She decides to have some sexy pictures taken (or more to the point, Rachel decides for her) and she meets up with Nathan (Lee), a photographer who specializes such things. It becomes obvious that Nathan is attracted to Danny and she, to be honest, is quite taken with him as well.

In the meantime Jason has attracted the attention of Allison (LoCicero), an intern at a local TV station who is interested in building a show around Jason. She is also very attracted to him and is unaware that he is married, because Danny took his ring to get repaired. Even after he gets his ring back, he chooses not to wear it around Allison, possibly because he doesn’t want to lose his opportunity but also possibly because of his doubts around Danny.

Soon, their hidden secrets come out and the marriage reaches a crisis level. With the baby on its way soon, can the two of them resolve their differences? Can Jason get over his fears and doubts and learn to love the belly instead of fear it?

This is a first-time feature for a graduate student and teacher in the University of Central Florida Film Department and Andrew Gay has done a good job in turning a little into a lot. With a budget that wouldn’t cover lattes on a studio set, he puts together a good looking modern romantic drama that covers real world issues that while not necessarily sexy, have a good deal to do with what couples encounter every day.

He is fortunate to have some terrific actors at his disposal. Orlando doesn’t necessarily have a great reputation when it comes to turning out talent despite having a thriving film scene; however, this is the kind of project that can really showcase how talented the actors are around here. Worley, making his screen debut, is fine as the sad-sack Jason, lost in a set of circumstances that have overwhelmed him. Wright makes a fine big brother, wise and a bit of an asshole. In other words, just like most big brothers (I know because I am one).

Lauren Brown has a gorgeous smile; she plays the part of Danny well; I saw Danny as slightly inhibited – a product of her Christianity perhaps – but certainly one who enjoyed sex, and the pain and uncertainty Danny felt at being refused by her husband, that thought that she was not attractive, was palpable so kudos to Brown for that. LoCicero and Lee also did good jobs as the attractive distractions. They brought some humanity to parts that are usually fairly undefined.

As with most first films, there are some issues but few and far between. My biggest one is that the addition of the “other woman” and the “other man” seemed a bit like rom-com contrivances. I would have preferred to see them concentrate on the real issues in the marriage rather than the imagined ones – or else turn those imagined issues into real ones.

This is going to be a hard one to find; after making its debut at the Florida Film Festival. It’s likely to be seen on the film festival circuit over the next year or so and the filmmakers are planning on releasing a DVD, hopefully out in the late summer – check their website for information over the coming weeks.

However, finding it is worth your while, especially for aspiring filmmakers who want to see how to properly make a first film. Not only them, but for new couples thinking about having a baby. This won’t scare you off of the idea, but it can give you an idea of some of the pitfalls. Hormones are a bitch!

REASONS TO GO: Some insight into relationships and dealing with pregnancy. Solid acting and a decent story.

REASONS TO STAY: Some of the story points were a bit too contrived. Ending seemed a bit rushed.

FAMILY VALUES: Most of the subject matter revolves around pregnancy and there’s some humor and themes around it. There’s some drinking and a few mildly bad words.

TRIVIAL PURSUIT: The story was based on an actual incident in feudal Japan, and was previously made into a black and white movie in 1963.

HOME OR THEATER: This is as intimate as it gets; it will work as effectively at home as it does on the film festival circuit. See it either way.

FINAL RATING: 6/10

TOMORROW: Your Highness