Eugene weekly. (Eugene, Oregon) 1993-current, November 08, 2012, Page 27, Image 27

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    MOV I ES
BY MO LLY TEMP LETO N
tailored suits to his pristine New York City home to his
sultry mistress, a French gallerist named Julie (Laetitia
Casta).
Poor Julie draws the short straw in the film, standing
in for all the artists and creative types whose lives and
work are just more baubles for the bankers, the power
players, the game changers. Robert will never leave his
wife, Ellen (played with earthy confidence by Susan
Sarandon), and Julie knows it, but he funds her gallery
and makes promises, and she goes along with him,
hoping it will all turn out in the end. What turns out
instead is a disaster, a nasty accident from which only
Robert walks away.
Arbitrage’s plot neatly reels in Jimmy (Nate Parker),
whose father worked for Robert; Detective Bryer (Tim
Roth), a working-class fellow with a chip on his shoulder
where the wealthy bastards of New York are concerned;
and Brooke (Brit Marling), Robert’s daughter and
colleague, who uncovers a string of worrisome numbers in
her father’s company’s records. Sarandon’s Ellen hovers
around the edges, unseen for long stretches but never out
of mind. To writer-director Nicholas Jarecki’s credit, his
film focuses on Robert without doing so at the expense of
the other characters, whose morals, histories and dreams
are just as relevant to the story as Robert’s.
Robert, however, is oblivious. Arbitrage never
demonizes its protagonist, but teases out the ways in which
a man can convince himself that his choices are the right
ones, the only ones, even as they stain everyone, the effects
of his decisions rippling outward as he sinks. Robert’s
talent for rationalization is astounding, second only to his
talent for playing the financial game, but his growing
desperation knocks everything out of place. Pointed but
not polemical, Jarecki’s allegorical film moves along
steadily, buoyed by an eerie and modern score, as it traces
the fault lines of one man’s delusions. ■
ONE MAN’S DELUSIONS
A financial thriller of the Bernie Madoff persuasion
ARBITRAGE:
Written and directed by Nicholas Jarecki. Cinematography,
Yorick Le Saux. Editing, Douglas Crise. Music, Cliff Martinez. Starring Richard Gere,
Susan Sarandon, Brit Marling, Tim Roth, Nate Parker and Laetitia Casta. Lionsgate,
2012. R. 107 minutes. 00021
I
f you look at Richard Gere’s body of work, it appears
he should be on movie screens constantly. A film or
two every year, an I’m Not There slipped in between
every couple of Unfaithfuls. But Gere still gives the
impression, somehow, of popping up every so often,
not remaining constantly visible, not sustaining a
movie star presence. And when was the last time Gere
actually impressed you?
He’ll likely do that with Arbitrage, a succinct film
that’s part thriller, part character piece and part vicious
little fable of American power. Gere, melting into his
character, plays Robert Miller, who has one of those
financial jobs that make absolutely no sense to those of
us who don’t play financial games. Hedge funds, markets,
copper mines; he takes bets, plays risks and things pay
off — or don’t. His life is shiny and elegant, from his
11/8
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SKYFALL PG-13
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TAKEN 2 PG-13
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MOVIES 12
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BRAVE PG
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BRAVE (3D) PG
12:10, 2:30, 4:50, 7:10, 9:30
THE CAMPAIGN R
12:30, 2:50, 5:10, 7:20, 9:20
THE DARK KNIGHT RISES
PG-13
12:45, 4:30, 8:00
THE EXPENDABLES 2 R
12:05, 2:35, 4:55, 7:15, 9:35
HOPE SPRINGS (2012)
PG-13
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ICE AGE: CONTINENTAL
DRIFT PG
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THE ODD LIFE OF TIMOTHY
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THE POSSESSION (2012)
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TROUBLE WITH THE CURVE
PG-13
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Assistive Listening and Captioning System Avail
1 1 /1 2 1 1 /1 3 1 1 /1 4 1 1 /1 5
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WRECK-IT RALPH (PG) ★
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FLIGHT (R) ★
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THE MAN WITH THE IRON FISTS (R)
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PARANORMAL ACTIVITY 4 (R)
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TAKEN 2 (PG-13)
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HOTEL TRANSYLVANIA (PG)
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CHASING MAVERICKS PG
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CLOUD ATLAS R
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FLIGHT R
1:10, 4:15, 7:20, 10:25
FRANKENWEENIE PG
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HERE COMES THE BOOM PG
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eugeneweekly.com • November 8, 2012
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