Much has changed in the world of finance since Oliver Stone first explored its grubby innards in 1987’s Wall Street a film that netted Michael Douglas a Best Actor Oscar for his iconic portrayal of scheming corporate raider Gordon Gekko. Technological advances regulatory changes a terrorist attack a global economic meltdown and the emergence of China as a dominant player have combined to transform the securities industry in the two-plus decades since Gekko paraphrasing Ivan Boesky first captured its more sinister aspects in those famous words “Greed is good.”
What hasn’t changed is Stone who remains every bit as hubristic and heavy-handed as ever. With his sprawling spotty follow-up Wall Street: Money Never Sleeps he has once again taken it upon himself to put forth the definitive portrait of the culture of money and the film suffers badly for it. Set in 2008 in those halcyon days just prior to the subprime mortgage crisis and its subsequent leveling of financial landscape the film is told through the wide eyes of young Jake Moore (Shia LaBeouf) the 21st-century heir to Bud Fox’s mantle. (Charlie Sheen who portrayed Fox in the first film resurfaces in a fun but ultimately pointless cameo in the sequel.)
Jake we are told is a successful proprietary trader but his countenance more closely resembles that of a venture capitalist. (The risky practices and alleged conflicts of interests of prop traders are widely believed to be among the causes of the financial collapse; the Obama administration has recently proposed their ban.) Though he’s as profit-driven as any other young Wall Street turk he also boasts something of an idealistic streak and hopes to use his position at the prestigious investment banking firm of Keller Zabel to further the cause of a cutting-edge green energy startup. No doubt it’s this noble trait that appeals to his girlfriend Winnie (Carey Mulligan) a progressive pixie who runs a muckraking leftist blog and who also happens to be Gekko’s estranged daughter.
Jake’s bright future takes a dark turn when rumors of over-exposure to “toxic assets” swallow up first his company Keller Zabel and then its founder Lou (Frank Langella) who opts to retire beneath a speeding subway train after the Federal Reserve denies his request for an emergency bailout. Devastated by the suicide of his boss and mentor Jake vows to exact revenge upon the slithery brute he believes to be the source of the poisonous rumors: Bretton James (Josh Brolin) a prominent partner at Churchill Schwartz (read: Goldman Sachs) Keller’s chief rival.
And where exactly does Gordon Gekko figure in all of this? After the opening sequence during which he emerges from a lengthy prison stay to find no one waiting to greet him Gekko doesn’t re-enter the story until about the 30th minute and lurks mainly on its periphery for much of his screen time. In the years since his incarceration for the various misdeeds chronicled in the first film he’s rebranded himself as a sort of populist crusader against speculator avarice hawking a book about the ills of the financial system entitled Is Greed Good? (“You’re all pretty much fucked ” he instructs a lecture audience.) Gekko’s got a grudge of his own against Bretton his one-time protege turned state’s witness in his securities fraud conviction and he agrees to supply Jake with crucial insider info in exchange for help in brokering a reconciliation with his daughter Winnie.
All of this is set against a backdrop of the collapses and bailouts of the 2008 financial tumult — a topic that could easily warrant its own film. (Indeed HBO is currently readying its adaptation of Aaron Ross Sorkin’s book about the crisis.) His ambition outstripping his ability Stone labors awkwardly to integrate the macro of the crisis with its many backroom deals and soap-opera intrigues and the micro of Jake’s increasingly complex relationship with Gekko. Mulligan’s character meant to serve as the film’s emotional anchor as well as its conscience is ultimately little more than a distraction diverting us from the story’s more compelling elements. The last third of the film which focuses on Gekko’s reemergence as a Wall Street player feels tacked-on as if driven by data from test audiences dissatisfied with his relatively minor presence in the early goings.
There are moments in Money Never Sleeps where Stone successfully invokes the heady verve of the 1987 film but for a story dealing with such titillating subject matter its pace too often drags to a near-halt as it wallows excessively in Gekko family melodrama. (The performances it should be noted are all terrific though LaBeouf is an exceedingly tough sell as a would-be BSD.) And a topic as sexy as money should never ever be boring.
By both critical and commercial measures live-action anime adaptations boast a record of futility second perhaps only to videogame adaptations. Some essential aspect of the source material is irretrievably lost during the process of translating Japanese cartoon to Hollywood tentpole something that even the most bloated visual effects budget can’t conceal. Think Dragonball Evolution and Speed Racer.
And yet Hollywood keeps trying lured by tantalizing visions of cash-cow franchises fed by loyal built-in — and most importantly international — audiences. The latest casualty of this misguided ambition is The Last Airbender based on the hit Nickelodeon series Avatar: The Last Airbender. To be fair Avatar isn’t anime in the orthodox sense in that it was conceived and produced in the States but its style and soul are almost exclusively anime-inspired. As such its big-screen fate is similarly sealed.
Who could possibly break such a rueful trend? For some reason the minds at Paramount thought M. Night Shyamalan that notorious purveyor of ponderous and increasingly shlocky supernatural thrillers might succeed where so many other directors had failed. Even worse they saw fit to hire him to pen the screenplay as well ensuring that every vital aspect of the film would feel the crushing weight of his heavy hand. With such a hacky burden to bear it comes as no surprise that The Last Airbender never really takes flight.
The film's story is set in a world divided into four tribes each aligned to an element: Air Earth Water and Fire. Certain gifted tribe members known as a “benders ” can manipulate the properties of their assigned element to suit their ends. In order to do so they must first perform an elaborate and utterly ridiculous kung fu dance after which a torrent of fire water or whatever arises to obey their command.
For the better part of a century the oppressive and warlike Firebenders have besieged the other nations gradually thinning their respective ranks. The Air Nomads have faired the worst of the lot and are presumed to be extinct until Water peeps Katara (Nicola Peltz) and Sokka (Jackson Rathbone) discover a boy named Aang (Noah Ringer) trapped in a giant ball of ice. Not only is Unfrozen Kung Fu Warrior the last remaining Airbender (thus the title) he is also an Avatar the only being on the planet capable of wielding all four elements. And only he can bring an end to the Firebenders’ evil reign.
Blessed with an opportunity to reinvent himself in a new genre and with a new demographic Shyamalan can’t avoid falling back on old habits most notably his penchant for awkward and cumbersome dialogue. It’s difficult enough for adults to deliver his lines but it’s absolute hell for The Last Airbender’s youthful protagonists whose not yet fully-developed temporal lobes can’t hope to adequately process the inanities of Shyamalan-speak. One can almost see the smoke coming from little Noah’s ears as he labors to complete each portentous sentence. Poor kid. Where are the Child Labor people when you need them?
But bad dialogue is only one of a litany of problems that plagues The Last Airbender which suffers from mediocre CGI inexplicable casting decisions (caucasians actors none of whom are especially talented are tabbed for asian roles when sufficiently mediocre race-appropriate actors were surely available) and a plot comprehensible only to the most ardent fans of the Nickelodeon series. Much as Aang bends the air Shyamalan tries to bend the laws of quality cinema to his will but they refuse to yield to the force of his ego. I only wish the execs at Paramount had been as stalwart.
Myers’ Guru Pitka could have used a little more back story and a little less shtick. The thin plot has Pitka uttering philosophical piddle like “an eye for an eye leaves everyone blind ” and repeating his mantra “Mariska Hargitay” over and over. But Pitka is not happy with his standing in the spiritual community--especially with the success story of his childhood friend and colleague Deepak Chopra (who cameos in the film). Chopra has been on Oprah for god’s sake! Suddenly Pitka sees the possibility of the fame when Jane (Jessica Alba) the owner of the Toronto Maple Leafs hockey team summons him to help get back her star player Darren’s (Romany Malco) mojo back after his wife Prudence (Meagan Good) leaves him for the legendarily well-endowed L.A. Kings star Jacques “Le Coq” Grande (Justin Timberlake). Pitka’s spiritual mission? Get Darren and Prudence back together in time for the Leafs to win the all-important Stanley Cup. If you’re looking for one-man shows Mike Myers is your man. Clearly the actor is this generation’s Peter Sellers choosing to play characters far from his own persona such as spy Austin Powers or Wayne Campbell. Guru Pitka fits right in. In Love Guru Pitka throws all sorts of self-help mumbo jumbo around hoping some of it sticks. He is like a distant cousin to other Sellers incarnations in films such as The Magic Christian I Love You Alice B. Toklas and particularly his Indian actor Hrundi V. Bakshi in The Party. But Love Guru doesn’t match those films or even any part of the Austin Powers trilogy largely because the gags take precedence over any true character development. For every Bollywood musical takeoff that works there’s a couple of bits that fall flat. It’s hit and miss despite Myers best efforts to sell this show as something more than an SNL sketch. Surrounding the star is the spectacularly unfunny but still beautiful Alba and the surprisingly funny AND beautiful Justin Timberlake who holds his own in the comedy department especially with his broken Canadian accent. Austin Powers sidekick Verne Troyer is back as the not-so-swell coach of the Leafs and he makes a good hockey puck while Ben Kingsley does his thing as the master Guru Tugginmypudha. First-timer Marco Schnabel is credited as director but it’s a good bet star/co-writer (with Graham Gordy) Mike Myers was calling most of the shots; it appears Myers did not have someone behind the camera reigning him in. Too bad. A sharp comedy director could have shaped the film into more than just a series of sight and sound gags designed for quick laughs at the expense of a coherent story. For his first live action film in five years (he does the animated Shrek films in between) it’s a little disappointing The Love Guru isn’t better than it is particularly from the creative mind behind the Austin Powers trilogy. Myers says he came up with this idea while seeking spiritual guidance from Deepak Chopra after his father died. The opportunity for some sharper satire and a stronger storyline is traded for a hit or miss 88 minute skit that has its moments but never finds it’s true Karma.