Average Rating: 5.5/10
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Average Rating: 5.2/10
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Average Rating: 3.2/5
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From legendary Academy Award (R)-winning writer/director Costa-Gavras (Missing, Z) comes CAPITAL, a fast-paced, darkly comic, suspenseful drama set in the high stakes world of global finance. When the CEO of France's Phenix Bank collapses on the golf course, Machiavellian young executive Marc Tourneuil (Gad Elmaleh, "Midnight in Paris") is crowned as his replacement. A whirlwind of ruthless ambition, power struggles, greed and deception ensues as Tourneuil's brutal ascent is jeopardized by a
Oct 25, 2013 Limited
Jun 9, 2014
Cohen Media Group - Official Site
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Director Costa-Gavras takes a vaguely facetious tone toward the evils of global finance, which he concludes is a game for gluttonous boys.
It's a bit like what The Godfather would have been if it had been set in "The Bank of Evil" from Despicable Me -- and if its antihero were a cipher instead of Michael Corleone.
What's lacking is most surprising from this dissident filmmaker: the emotional outrage.
The famously left-leaning Costa-Gavras is preaching to the choir in his indignation, but he does so in slick, brisk fashion.
In the end, "Capital" is just a dark comic sketch of bald-faced greed, with little nuance or real feeling.
"Capital" is too cynical to ever really suggest that redemption is possible. Not that anyone watching will even care.
"Capital" isn't as good as "Margin Call" or "Arbitrage," in part because Costa-Gavras holds these characters in such contempt rather than trying to understand what motivates their insatiable greed.
It's about a callous bunch of high stakes financial market players who are out to rob the poor to give to the rich.
"Capital" gives an intriguing look into the high-level workings of corporate Europe through the eyes of Tourneuil in an effective character study.
Capital's chief pleasure is also a huge limitation: in all its merciless hubris, it's smartly, stylishly blank.
... shows an appropriate contempt for the global financial climate without turning its characters into one-dimensional villains.
Straight-faced depictions of cartoonish villainy and an uncompelling protagonist add up to a well-intentioned flop, which probably seemed like a capital idea but ends up being closer to capital punishment.
Costa-Gavras has a good ear for boardroom doubletalk and cutthroat shenanigans, but can't quite decide whether to praise his young prince or bury him.
Le Capital reconfirms that yes, the system is deeply unfair and highly manipulated, but that point has already been made more than once, so where do we go next?
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