Hollywood serves as a quintessential representation of unrestrained capitalism in America, where the principles of profit often overshadow artistic innovation. This environment has led to a proliferation of remakes, sequels, and reboots, primarily because they are more cost-effective than developing original stories. Ironically, this capitalistic logic was applied even to a film that critiques capitalism itself—Oliver Stone's Wall Street (1987). Over two decades later, Stone returned to this universe with Wall Street: Money Never Sleeps (2010), a sequel that attempts to explore the complexities of a new financial landscape while grappling with the legacy of its predecessor.
The film opens with a prologue set in 2001, where we find Gordon Gekko (played by Michael Douglas) emerging from prison after serving time for insider trading and other financial crimes. In the years that follow, Gekko attempts to rehabilitate his public image by publishing a book that warns of an impending global financial crisis. Meanwhile, his estranged daughter Winnie (played by Carey Mulligan) embodies idealism through her work at a small non-profit news website. She is romantically involved with Jacob "Jake" Moore (played by Shia LaBeouf), a young trader climbing the ranks at Keller Zabel Investments. The plot takes a dark turn when Keller Zabel suffers a catastrophic drop in stock prices, leading to the suicide of Jake's mentor, Louis Zabel (played by Frank Langella). The disaster was caused by deliberate manipulations of Zabel’s rival Bretton James (played by Josh Brolin). Attempting to get revenge, Jake seeks out Gekko, who offers his expertise in exchange for help reconciling with Winnie.
Oliver Stone enjoyed considerable fortune with the original Wall Street, as its release coincided with the 1987 stock market crash, making its themes immediately relevant. The sequel's creation felt almost inevitable in light of the more devastating financial collapse in September 2008 and the subsequent Great Recession. Known for his critical stance on American society, Stone was compelled to revisit this narrative, illustrating how the lessons from past financial crises—be it 1987 or 1929—remain unlearned.
To his credit, Stone endeavours to differentiate Money Never Sleeps from its predecessor. Notably, he transforms Gordon Gekko from an embodiment of 1980s greed into a somewhat more sympathetic character. While still ruthless, Gekko's portrayal is softened when contrasted with the more avaricious characters like Bretton James, who exemplifies the unchecked greed that led to the 2008 crisis.
Michael Douglas delivers a commendable performance as Gekko, successfully reinterpreting one of his most iconic roles. This achievement is particularly impressive given that the production coincided with significant personal challenges for Douglas, including health issues and family matters. His ability to infuse depth into Gekko's character adds layers to a figure who could easily have been reduced to mere nostalgia.
However, despite Douglas' strong presence, the film suffers from an uninspired script written by Allan Loeb and Adam Schiff. The plot often feels derivative, recycling elements from the original film while attempting to layer on clichéd family melodrama. Winnie's character is particularly problematic; presented as an anti-capitalist crusader seeking atonement for her father's sins, she paradoxically finds herself romantically involved with Jake—who embodies many of the same traits she despises in Gekko. This inconsistency is compounded by LaBeouf's lacklustre performance and his apparent lack of chemistry with Mulligan.
The film's derivative nature is further highlighted by an unnecessary cameo from Charlie Sheen reprising his role as Bud Fox. This moment feels more like a nostalgic nod than a meaningful contribution to the story, reinforcing the sense that Money Never Sleeps relies too heavily on its predecessor rather than forging its own identity.
As a result of these shortcomings, Wall Street: Money Never Sleeps emerges as a forgettable sequel that lacks the soul and urgency of its predecessor. While Douglas' performance is noteworthy, it cannot compensate for a script that fails to engage or provoke thought on contemporary financial ethics. The film quickly fell into relative obscurity after its release; if Stone's intention was to reignite discussions about the moral implications of capitalism introduced in the original Wall Street, then it ultimately failed in this regard.
RATING: 4/10 (+)
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