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There is a moment early on in “Money Never Sleeps” where Gordon Gekko, Michael Douglas’ iconic character, is given the belongings that were on his person when he first entered prison. They include a primordial cellular telephone and an empty money clip. A sufficient sight gag, it perfectly sets up the mental state of not only Gekko, but director Oliver Stone as well.
After a string of critical and commercial failures that include “Alexander,” “World Trade Center,” and “W,” Stone is in desperate need for a return to form. His glory days, where he pumped out gems such as “Patton,” “JFK” and the original “Wall Street” are well behind him. Stone, like Gekko, is hankering for a return to the top, and his hunger is felt throughout the picture.
Gordon Gekko, a one-time financial tycoon, has been stripped of all his power. Having just made parole, he re-enters the world with two goals: To regain his financial credibility and to regain his daughter. The key to both of these things is Jacob Moore, played by Shia Labeouf, who happens to not only be romantically involved with Gekko’s daughter, but to also have a way into the world of high finance as a scrappy young trader looking for something greater.
Jacob, who is well aware of Gekko’s heyday and legacy, is more than happy to try and get the Gekko reunion underway in exchange for financial advice. Their main adversary is Bretton James, played by Josh Brolin, a Gekko of the 21st century. Charming and lethal, James is the face of everything that makes Middle America queasy. A former protégé of Gekko, he is more than prepared for the battle at hand.
The three parties wage war upon each other, turning tables as quickly as Woody Allen can turn a phrase. This is where the film soars, doing exactly what it’s designed to do. At its core, the “Wall Street” films are about money, power and those who go to extreme lengths to attain them. They are character studies of those who relish humanity’s worst traits.
When it tries for more than that, the film feels like weak sauce. Jake’s love story is unfortunately only half-baked, and so is his relationship with a mentor-like figure played by Frank Langella. While one could be tempted to blame Labeouf for these shortcomings, scenes between himself and Douglas or Brolin crackle with power. The best material is reserved for these three men. Anyone else gets the leftovers.
Another unnecessary aspect is a rather sloppy motorcycle race sequence. The bit feels more like a studio note than something that came organically from the script, and again showcases Stone’s desire for something truly outstanding. There’s a difference between a prestige picture and an event picture, and Stone seems to want it both ways.
It’s ironic that greed is what keeps the film from being truly great. Just like Gekko, Stone isn’t content to merely shoot for the moon and land amongst the stars. He wants the moon, damn it, and if he doesn’t get it then he’s content to die trying. The original “Wall Street” mocked those who claimed greed is good, but Stone, like many others unable to understand the concept of subtext, seems to have bought his own character’s message hook, line and sinker.
In the end we’re left with a film that’s more good than great, and more entertaining than intriguing. The actors deserve acclaim and Stone shoots the film with the assured hand of an old pro, but ultimately it doesn’t tell us anything we don’t already know. It desperately wants to be an acclaimed speaker, holding a sermon on the mount. Instead it comes off as an old hobo muttering on the street.
Final Grade: C+
