Wall Street (1987)
Directed by Oliver Stone
A young and impatient stockbroker is willing to do anything to get to the top, including trading on illegal inside information taken through a ruthless and greedy corporate raider, who takes the youth under his wing.
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What critics compared Wall Street to
It even features a moment where the top brokers of the firm spout lines from “Wall Street” while watching the movie in a group, and it sums up the movie very well.
Populated by 25-year-old, overnight millionaires who wear their testosterone on the sleeves of their tailored Armani suits, this is an imposing, vigorous and pulsating picture that could have been mighty and portentous if writer-director Ben Younger hadn't cribbed half the script from "Wall Street" and "Glengarry Glen Ross."
Okay, so it might sound like sort of a generic blend of "The Firm", "Wall Street" and "Glengarry Glenn Ross" (dialogue from these last two is actually quoted by the characters!), but it's made into such a tight, tense picture that it's hard not to be completely caught up in it.
Not only drawing its basic theme and plot structure from Wall Street, Boiler Room also draws its best dialogue during a scene in which a number of young stock brokers sitting in one of their sparely decorated mansions, compete with each other to quote lines from Wall Street, whose antagonist, Gordon Gecko, is obviously regarded as an idol within the group.
A few scenes later, Seth is hanging out with Greg and his other superiors at the brokerage firm of JT Marlin--including Ben Affleck as the firm's recruiter and Vin Diesel as top salesman Chris--and just when the "greed is good" vibe can't seem any more reminiscent of Oliver Stone's Wall Street, Younger has the characters actually watch Wall Street and recite Michael Douglas' lines right along with him.
"Boiler Room" is not so much a rip-off of "Wall Street" and "Glengarry Glen Ross" as it is more like the birthchild of those films.
From Wall Street (1987) to Margin Call (2011), from American Psycho (2000) to, of course, Wolf of Wall Street (2013), filmmakers' answers to that question have ranged all over the map.
Like thematic predecessors such as Wall Street, The Big Short is all about greed and making money.
The great American tradition of filling one’s pockets with other people’s money has inspired milestones from “Glengarry Glen Ross” to “Ocean’s Eleven,” “Wall Street” and “The Wolf of Wall Street.”
Unlike the slick suits and killer sheen of Oliver Stone’s Wall Street , this is a world of chaos and disorder filled with misfits who understand numbers more than people; from Christian Bale’s Michael Burry, a socially awkward heavy-metal enthusiast who dreams up the credit default swaps that enable him to “short” the housing market, to Steve Carell’s bereaved and fractured Mark Baum (a character inspired by the real-life Steve Eisman) who balances moral outrage and repressed self-loathing as he swims with sharks in the cesspool of the financial market.
The film doesn't exactly advance the social and financial discussions of Oliver Stone's "Wall Street" or its many copycats that detach success from emotions.
Michael Douglas often tells the story of how young stockbrokers would approach him and say that his Wall Street corporate raider Gordon Gekko inspired them to go into finance.
For example, while the Gordon Gekko character didn't abandon his "greed is good" mantra in "Wall Street," his young protégé (played by Charlie Sheen) clearly did.
But this isn’t Oliver Stone’s preachy, good-man-falls-far opera “Wall Street.”
The orgiastic display makes Oliver Stone’s “Wall Street” look downright minimalist.
Like Oliver Stone’s “Wall Street,” which gets a shout-out (as does “Freaks”), Scorsese exposes an American institution as a den of thieves.
Margin Call (Lionsgate) accomplishes something that Oliver Stone failed to show in his “Wall Street” sequel: it explains how and why the market crash happened, not just in terms of economics but in the culture of Wall Street and the justifications that individuals tell themselves in order to follow the company line.
First-time director Chandor has convinced some interviewers that the film is somehow sympathetic to big business because -- unlike, say, “Wall Street’’ -- it doesn’t end with its protagonists in handcuffs (or by showing the consequences of the crash, as if we all needed to be reminded).
Director J.C. Chandor – whose father was in finance for 40 years – brings some of the same clear-eyed approach to this that Oliver Stone, another stock-market brat, brought to “Wall Street.”
With its cool, deliberate pacing and muted sense of impending doom, "Margin Call" isn't like the showy financial drama "Boiler Room" or Oliver Stone's "Wall Street" movies.
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And while Wonder Woman 1984 ’s message is partially a warning about greed—a suitable theme for a movie set in the Wall Street decade—it also argues that the masses don’t know what’s best for them, and if you give the people what they want, the world will descend into chaos.
Sin embargo, el potencial de este concepto se acaba desperdiciando, salvo en el uso obvio de la filosofía de Gordon Gekko de que "la codicia es algo bueno" - a quien se le escape la referencia, recomiendo el descubrimiento de Wall Street, película de 1987 realizada por Oliver Stone - y el marco geopolítico superficial de la Guerra Fría que parece más interesado en comentar las ansiedades y preocupaciones de la realidad actual que en socavar el contexto de la época.
She’s almost channeling Michael Douglas’s merciless Wall Street player Gordon Gekko from “Wall Street.”
It was the character Gordon Gekko, played by Michael Douglas, in Oliver Stone's Wall Street who argued: "Greed is good."
Likewise, if one says, "Greed is good," it's not difficult to picture Michael Douglas playing the slick corporate raider Gordon Gekko in 1987's "Wall Street."
Move over “Wall Street,” as the best movie on American capitalism may now well be THE FOUNDER, the story of how salesman Ray Kroc, brilliantly portrayed by Michael Keaton, took a California hamburger stand run by two brothers, Dick and Mac McDonald (Nick Offerman, John Carroll Lynch) and turned it into a worldwide restaurant chain.
Had it gained any traction, it could have been the Wall Street for a new generation, with Michael Keaton's Ray Kroc replacing Michael Douglas' Gordon Gekko as the capitalist pig most adored by conservatives across the land.
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Sketchy attempts at action?a chase through Central Park, a fight to the death in Eddie's high-rise condo?are interspersed between long sections that play like a wannabe " Wall Street " by way of "Requiem for a Dream" had that pitch-black Darren Aronofsky cautionary tale portrayed its drug-addled ensemble as getting by just fine hopped up on crack and diet pills, thank you very much.
The thrill-less "Limitless" offers zero unexpected wrinkles in its hero's "Wall Street"-like rise and fall, yet involves constant voiceover as if Eddie needs to explain what even sleeping viewers couldn't miss.
At times, Limitless comes across like a synthesis of Wall Street and a superhero movie on acid.
As the shady investment banker squeezing Morra's brain, Robert De Niro does his best Gordon Gekko from "Wall Street," except that when he tries to deliver monologues, "Limitless" turns off the volume.
It's like "Wall Street" crossed with "Rain Man" hopped up on "Requiem for a Dream".
Lou, the character Jake Gyllenhaal plays in the darkly funny, terrifically smart little film Nightcrawler , at first seems like a simple riff on someone like Gordon Gekko from Wall Street or Patrick Bateman from American Psycho — a sociopath who has absorbed the lessons of his culture so thoroughly that they have become the blood running through his veins.