User Reviews

Wall Street" is a movie that seems to spark much debate. Basically, it is the working out of a moral struggle within young Wall Street trader Bud Fox (Charlie Sheen) between the values with which he was raised of hard work and success through actual creation, versus those of his mentor Gordon Gekko (Michael Douglas) who succeeds through corporate raiding and "creative destruction". From Bud's viewpoint his dad's (Martin Sheen's) road map for success and happiness seems old-fashioned to the point of being prehistoric compared to Gekko's, until Gekko sets his sights and his wrecking ball on his father's company, and Bud is forced to choose.

Many people associate this film with a liberal versus conservative viewpoint on business, a wild-west economy versus a planned economy and relegate this film to 1980's era nostalgia, like the now humorously giant cell phone Gekko is talking on as he walks along the beach. It is said that neither extreme works and that we've gradually settled towards something in the middle. However, the Gekkos of this world are smarter than that, and over the past 20 plus years they have set up an economic system that serves them well. What we now have is a situation where the haves and have-mores have a planned - almost Soviet - system in which the rules stratify them at the top. I cite the changes in bankruptcy law as exhibit A. The members of the labor force that serve them, however, are in the wild-west economy that was once advocated for everyone. Some will rise to the stratified top in this situation, but the vast majority will remain at the bottom shooting it out with each other - for scarce good jobs, good health care, education, etc. Thus, to me, Wall Street is just an opening chapter in the saga of how economic forces and attitudes toward them have changed, not the portrait of a 25 year-old fad that has come and gone.

With his diabolical charm, slicked-back hair, city-college chip on his shoulder, and era-defining "greed-is-good" mantra, Gordon Gekko may by one of the all-time great film roles. Michael Douglas's performance as Gekko won a deserved Oscar in 1988 and makes "Wall Street" required viewing.

There are two schools of thought when it comes to money. Some economists argue money is an expanding resource, and prosperity a rising tide that lifts all boats. For Gekko, the truth is simpler and more brutal: The rich get richer off the backs of everyone else. "Money itself isn't lost or made, it's simply transferred," he tells his young protégé Bud Fox (Charlie Sheen).

No question writer-director Oliver Stone feels the same way, as he presents this tale of wealth acquisition at its very apex, lower Manhattan circa 1985. In practically every frame showcasing the opulent world Gekko travels can be glimpsed beggars, fishermen, window washers, people who never will have access to the white-collar lifestyles their lowly status perversely enables for others.

For some, this zero-sum take of America clouds their enjoyment of "Wall Street" the movie. It shouldn't. You don't have to buy Shakespeare's version of history in "Richard III" to enjoy the morally bankrupt character at its center, and you don't need to adopt Stone's philosophy to enjoy Gekko.

In fact Stone's attitude about the Street, presented here as a kind of Hogarth caricature, helps make the film so entertaining. He captures the scenes of floor trading and calls and puts in journalistic detail, but leaves room for the human equation. And he has fun, a lot of fun, especially with Gekko, a character who makes you laugh with his pithy comments even as he sets about using poor Fox as a human ashtray.

On an upcoming charity event for the Bronx Zoo: "That's the thing about WASPs. They hate people, but they love animals." On a rival: "If he was in the funeral business, no one would ever die!" To Fox: "You had what it took to get into my office, sport, the question is do you have what it takes to stay."

Fox wants to stay, and allows no SEC regulation to block his wayward path. Stone's father was a stockbroker, and so the director takes special care to show us that all Wall Streeters aren't bad. There's Hal Holbrook, almost too saintly and somewhat detached from day-to-day business of his brokerage house to the point he seems a slumming B-school don. John C. McGinley delivers a standout performance as a vulgar, greedy friend of Fox's who we nevertheless find ourselves sympathetic to, especially as Fox ditches him for Gekko.

But of course it's really Gekko's world, as we watch him at his desk, punching telephone-line buttons and encouraging subordinates to "rip their throats out," checking his blood pressure with one hand while smoking a cigarette in the other. His centerpiece moment, his speech to the stockholders at Teldar Paper, is a compelling soliloquy not because it showcases his brutality but because it allows him a chance to explain his philosophy in a way that sounds logical, even honorable, until you think through the implications. That's Stone's screen writing at its best.

Sheen is also masterful in his role, playing the naive waif who wants to swim with the sharks and thus giving Douglas daylight to run. Too bad there's a tacked-on romance that never really works, in part because the character of Darien Taylor is not well developed, in part because Darryl Hannah hadn't yet met Quentin Tarantino. The ending is a bit too neat, and loses the subtlety that makes the rest of the film so good.

But the heck with subtlety when you have Gordon Gekko. Douglas is the reason for watching "Wall Street," and a terrific one. Just watch the way he looks at Bud, eyebrows raised to hold a pregnant silence, or enjoys the discomfort of his arbitrager-rival Sir Larry (a solid Terence Stamp). Stone knew what he had here, and makes the most of it. As a twisted morality tale, "Wall Street" is a thrilling, scenic ride down a dark and dangerous road.

Michael Douglas deservedly won an Oscar for his portrayal of the ruthless, chain-smoking capitalist guru, Gordon Gekko, who leads Charlie Sheen's Bud Fox down the garden path to Wall Street's hidden abyss. Good supporting cast includes Sean Young, James Spader, reliable Hal Holbrook, and the wonderful Sylvia Miles. Tight direction, perceptive script with realistic techno-lingo, fabulous production design, dazzling cinematography of the Manhattan skyline, and hip 80's music rev up the technical quality of this Oliver Stone "message" film. If only the message had been more reassuring.

Gekko is a villain and an outlaw, but mostly he comes across to viewers as a worldly tough guy, a charming bully with a glamorous lifestyle. We see his high-class mega-office, his plush home and chic wife, his expensive paintings, his rapid-fire commands to his robotic lieutenants, his snazzy clothes and "in vogue" friends. Here and there we see his frustrations, but that only accentuates his toughness. We do not see him suffer, nor do we see the consequences of his selfish, Machiavellian behavior.

As a result, to viewers, especially to those youthful, bright, materialistic Americans with a smug, "can do" attitude, and disdain for ethics, Gekko is, unfortunately, someone to admire, a Wall Street role model.

Deceptively deep and complex picture from co-writer/director Oliver Stone paints a vivid portrait of 1980s over-excesses as the age of "Me, Me, Me" (otherwise known as the 1980s) is explored through the eyes of a young, eager and impatient stockbroker (Charlie Sheen) who moonlights as a liaison to a heartless, ruthless and crazily greedy mega-millionaire (Michael Douglas in a smashing Oscar-winning turn) who seemingly has his hands on most every aspect of big business. Naturally dilemmas occur in every direction for Sheen as the lifestyle he wants comes at a very heavy price (both literally and figuratively). A strained relationship with his father (real-life dad Martin Sheen) and a whirlwind fling with the superficial Daryl Hannah just leads to more and more cinematic fireworks. "Wall Street" is really the only film I can think of to deal seriously with its subject matter. Everyone of the age remembers the yuppie phase this nation had in the mid-1980s. Young urban professionals did their best to make as much as they could as fast as possible (sometimes through crooked and illegal means). The idea of retiring at 40 seemed like a good notion, but those same people with those thoughts are still working today (they never made their millions or they made their money and ended up going into a lifetime of debt because they spent their earnings quicker than they could make it). Ultimately the 1980s was good while it lasted, but good like that never lasts forever and that becomes painfully clear as Sheen's character becomes a warning to all those who think they can out-think and manipulate a strained economic system. Douglas is a complete revelation. I mean there is no doubt that he is an excellent performer, but his portrayal of a money- and power-mad player in New York is truly one of those instances of classic career work being achieved. Super-slick, wickedly intelligent and definitely a thinking person's movie, "Wall Street" continues to strike a chord when looking back at a very unique time of American economic history. 4.5 out of 5 stars.

I mainly purchased the DVD, because of two reasons: Michael Douglas and Charlie Sheen. I'm quite an admirer of both actors. I have virtually no knowledge about the stock market, or about stocks themselves. Those who are in the market or have vast knowledge about stocks will probably enjoy the film much more. However, I still enjoyed the film. When a movie's really good, it doesn't matter whether or not the audience member is interested in the topic. Besides, the film boils down to basic universal themes, like selling your soul to the devil and money being the root of all evil.

The characters are interesting and richly developed, with the exception of Darryl Hannah's underwritten character. I can see why she didn't like playing that role. Douglas is always a joy to watch, and makes a suave yet slimy villain. I wouldn't necessarily say he deserved an Oscar, but he did a fine job nonetheless. So did Charlie Sheen, who is actually the star of the film despite the fact that most people remember "Wall Street" for Douglas as Gordon Gecko. Sheen gives a fine multi-dimensional performance. I love the scenes between him and his father Martin Sheen, who plays his father in the film. Oliver Stone made a great choice casting the father-and-son team, since the tension in their scenes feels very authentic.

There are some predictable plot turns and character arcs, but altogether Stone keeps the excitement going. I like how the climactic scene between Douglas and Sheen is shot without cuts, with the camera moving from person to person, keeping the tension going. If I knew at least an inkling about the stock market, I wouldn't be completely lost during certain scenes, but what can you do? I still think it's a fine film with solid performances.

My score: 7 (out of 10)

Wall Street is about those for whom material wealth takes precedence over morality, and those for whom it does not. Moreover, it is the story of one who is struggling to decide which of the two he is: greedy or ethical.

Bud Fox is a young stock broker who only wishes to excel in life. His father, Carl, provides a strong moral foundation, prioritizing human life and well being over profit. Bud's mentor, Gordon Gekko, is a ruthless and legendary Wall Street player whose values couldn't conflict with those of Bud's father more perfectly. So caught in the middle is Bud, who pitches his father's airline to Gekko with the intentions of saving the company while everyone gets rich in the process. This business deal sets the stage for the conflict of interests Bud faces, and whether in the end it is his moral father or his greedy mentor he would most like to become.

Wall Street is impeccably directed and perfectly cast. Oliver Stone really captures all the elements necessary to the telling of this story, with all its moral, economic, and legal implications. Michael Douglas is almost frightening as the ghastly Gordon Gekko, a role for which he took home the Oscar for best actor. And the casting of Martin and Charlie Sheen as father and son lends authenticity to their numerous emotional exchanges. We see what seem to be genuine hurt, pride, and shame from the two of them together. John C. McGinley makes his customary appearance in yet another of Stone's movies as Bud's coworker, and as always he shines, contributing his unique personality to the film. The combined efforts of talented individuals in a powerful story of human strength and weakness makes Wall Street a must see movie.

I rate it 10/10.

Epochal film from the 80's, which has almost unbelievably, in today's post Merrill Lynch / Northern Rock (depending on which side of the pond you're on) banking debacles become topical again, so much so that a same director / same star follow-up is reportedly in the making.

It will have to go some though to beat the shock and awe value of its prototype, with Douglas' larger than life personification of corporate greed, Gordon Gekko, dominating proceedings. Charlie Sheen is the young trader on the make, aiming to aspire, or so he thinks, to Gekko's status and success, trying so hard to please his idol that he not only ends up aping his appearance (slicked back hair, big suspender braces) but even betraying his idealistic union-man father by relaying insider knowledge on the latter's ailing airline employer to Gekko who then moves in to welsh on his workforce-friendly words to asset strip the company for massive personal gain. Sheen's Bud Fox character eventually has an epiphany, augured by the coincidence of real-life and cinema dad Martin copping a heart attack and turns on and indeed turns in his guru to the authorities to bring ultimate closure to the piece.

The film has its faults; I didn't quite buy into Douglas surrogate-father figure appeal to Sheen Jr., the coincidental heart attack of Sheen/Fox Sr is a bit too pat and some of the supporting characters come on like mere ciphers, including Terence Stamp as the UK magnate-cum-nemesis of Gekko and Daryl Hannah as a Gekko cast-off girlfriend/groupie who becomes young Sheen's trophy girl-friend. This leads to a larger criticism on the paucity of female characters in the film at all, but if you can accept that this is a man's man's man's world, to paraphrase James Brown, then this morality tale of its time still packs a punch, especially with the collapse of Communism and the surrender of the likes of Russia, China et. al to the addictive drug of big-bucks capitalism.

Stone's camera is constantly on the move, capturing the frenetic-ism of dealers on the trading floor as market frenzy takes hold, with the dialogue razor-sharp throughout, so many of the phrases of course having become clichés for that era, almost entering common parlance the language, such as greed is good, lunch is for wimps and more.

In the end, young Sheen would have done well to be careful what he wished for, but if he's the Little Red Riding Hood to Douglas' Big Bad Wolf, this particular out-sized fairy tale reaches its conclusion fittingly and satisfyingly, opening up a seamy, selfish world that you know is out there still, now more than ever.

Wall Street (1987) is one of the films that defines the 80's American Lifestyle. A dog eat dog society fueled by greed, materialistic possessions, excess and drugs. People preying on others, a world of unscrupulous inside trading and the rise of yuppies. Oliver Stone is one of those film makers who knew the 80's inside out. People say John Hughes defined the 80's but Mr. Stone showed it's true side and it was ugly.

The film follows a low level day trader (Charlie Sheen) who strives to become a very powerful figure on Wall Street like his idol Gordon Geckko (Michael Douglas). To justify his rise to power, he uses his father (Martin Sheen) knowledge of the flight industry for his own personnel gains. He wants to get his foot into the door of the oily Geckko. Will he sell his soul for a quick buck? How far and fast will this rising star soar? To find these answers check out Wall Street.

This film was made immediately after Platoon. Stone made it clear that he wasn't going to let an Oscar winning malaise effect him. He explores the two fathers theme that he used in Platton and once again makes it work. A highly underrated film that has sadly been neglected by the mainstream audience. What makes it even sadder is the fact that it still applies today.

Highly recommended.

In light of the recent economic crisis, Oliver Stone's 1987 classic Wall Street seems as relevant as ever. While it is not about economic matters in itself, it is easy to see how a market like the one depicted in the film, with people like the ones in the film, could spawn an economic breakdown. Unfortunately, apart from that, there is really nothing remarkable about Wall Street; we have seen the story of a man striving for power and success a million times, if not in this environment.

First of all, Stone's direction is nothing out of the ordinary. The music alternates between interesting song choices like the David Byrne songs and Fly Me to the Moon, and being mildly annoying. The visuals are far from impressive, even though there are some pretty pictures of New York to look at, and the way the camera becomes a bit unsteady when something particularly intense is going on is interesting until Stone takes it too far, like when he turns a scene between Charlie and Martin Sheen that could have been great into something resembling a tennis game. Furthermore, I feel like there is sometimes a fine line between making a film that describes a lack of taste, and simply making a tasteless film that indulge in excess. In other words, Wall Street has aged badly in some aspects.

That being said, the film does feature some highly memorable performances, Michael Douglas' deliciously sleazy Gordon Gekko being the highlight. The dialog might rely too heavily on one-liners, but in a way it makes sense that, in a film that is partly dealing with superficiality, half of all the lines in the film sound like an advertising slogan. And at least some of them are good slogans; surely it is hard not to be swayed when Douglas proclaims that "greed clarifies, cuts through, and captures the essence of the evolutionary spirit".

(The speech about the 1% is more important than the greed speech.) "It's not a question of enough, pal. It's a Zero Sum game - somebody wins, somebody loses. Money itself isn't lost or made, it's simply, transferred - from one perception to another. Like magic." If you made a list of best New York movies, it would probably be blasphemous not to include work from Woody Allen or Martin Scorsese. However, for me, this might be the ultimate movie set in the financial capital of the world. I guess this is obvious, but it's hard to replicate the chemistry that a real father and son have. Martin and Charlie Sheen are near perfect together in every scene. Michael Douglas reaches god-mode as Gordon Gekko. Maybe my favorite performances of the 1980s? The most famous cellphone in the history of movies? If you want to have some fun, do a bit of research on the gigantic cellular device. The mash-up of everyone buying/selling stock on Wall-Street is pure ecstasy. Inject it straight into my veins! The screenplay is perfect. So smart. As an economics teacher, I'm probably biased, but I'm hooked on every word! A masterpiece!

Wall Street (1987)

I finally got to watch Wall Street after hearing many friends mention it, and a few really praise it. So with expectations a little bit primed, I was underwhelmed by the opening minutes, and then further discouraged as it went, until by the end I was bored. Maybe the sweeping notion of a Wall Street made of day traders and pyramid schemers and run-of-the-mill corrupt young white collar criminals is old hat. Maybe this had meaning in the Reagan years when greed really did seem to be waved like a flag.

But maybe it's not such an amazing movie. It is filmed like a good, night time television series, though with a longer pulse to it (no commercials, oddly enough, given the theme). But it is brightly lit and functionally photographed. The acting is all over the place, but the lead, the younger Sheen, is just plain dull. His character, Bud Fox, is meant to be a hard driven risk-taker, conniving to see the top trader in town and wanting to succeed behind his little computer, but he's kind of an everyman instead, probably so we might sympathize with him. Just from his lack of energy, he drags the movie down.

Michael Douglas, however, pulls it up. He's his usual brash, sharp-voiced, arrogant, rich man (he seems to play parts that require expensive suits). Unlike his father, he doesn't do humble well, but his part as Gordon Gekko requires mostly hubris. And greed. The famous "Greed is Good" speech never actually has him say that--and if you find it and listen just to that moment in the movie, you might get a flavor for the whole thing, because he hesitates on just how to word it. The movie, as a whole, though never pausing in the kinetic sense, is one big hesitation. It lacks depth, and it lacks any reason that we should be compassionate.

Yes, the older Sheen shines (ouch, that was unintentional--Martin plays the father of the Charlie main character). The supporting cast is fair to middling. And the direction, whatever you think of Oliver Stone, is solid but uninspired. It is really the idea that drives the whole enterprise, and the idea is a linear, and predictable, one.

You can watch Wall Street and take it for face value. If you want to do that, all you have to do is watch Michael Douglas, probably the most underrated actor of the last 30 years, give his greed speech. You will be amazed at this man's talent for delivering a performance. You can watch Daryl Hannah give a flawless interpretation of the high priced trophy girlfriend/wife. And you can just feel the disappointment that your father showed you the first time you let him down when you watch Martin and Charlie Sheen deliver the hospital scene. The story is a classic. It is purely timeless. The setting is as grand as the money that they are playing with. The supporting cast is excellent (realtor, boss, traders, etc.) This film is everything a casual movie fan needs to sit for 2 hours and be entertained. However, if you want to look deeper into the film you will appreciate the true intent of Mr. Stone's effort. Don't get too caught up in the façade of tall buildings, trading stock and corporate tycoons. Wall Street is not necessarily all that it seems. Rather, it is consistent with Mr. Stone's clever work in the past. It seems that to a creative genius like Stone, it is not enough to make the typical story of the kid hits it big and suddenly crashes back to earth (see secret of my success, cocktail, top gun, etc.) The intent of the picture may be completely different from the actual medium chosen. Stone drops clues throughout the film. It's the dawn of a new age, 1987. The journey from the old economy i.e. the airline industry and paper industry to the age of information. The sun is rising in the east as shown in the beach scene. A quote from Stone's character Gekko `damn I wish you could see this' is the perfect hint of what Mr. Stone is trying to say. Oliver Stone sees the future, it is a future economy based on information being the most powerful resource in the world. The eastern philosophy, the greed, the self-destruction of smoking and working out. All these things brought Gekko down. Gekko was brought down by what? A man with a micro tape recorder. A man armed with the medium of the new economy, electronic media. He was nailed by a person whom he trained to `get information' Well, he got the information and Gekko was brought down by the fact that he was short sighted to it. Great movie and excellent foresight by Mr. Stone as always. I suggest you watch it again. But, this time I suggest that you look for the real intent of the film. In my opinion, this is quite simply one of the best films of all time. Not only because of its timeliness, amazing foresight (see stock market crash in October 87, and the rise of silicon valley and Microsoft in late 80's) and one of the best performances by an actor period in Michael Douglas' portrayal of Gordon Gekko.

I have to correct myself, this movie deserves at least 8/10. That's right from the start, but I won't change it (yet) up there. The quote I used in the summary line is from Jerry Maguire, just because the line works perfectly here. You have Michael Douglas in excellent form here as Gordon Gekko ... maybe the second most misunderstood character Stone has written, only second to Tony Montana. Misunderstood in the sense of Oliver Stone's intentions. Many people have taken Gekko's character the exact opposite way he was written. Stone never intended him to be that influential. But then again, those are the things, a director can do nothing about. And can also be seen as a testament for the fabulous acting!

The movie is about greed and the fast way to earn money. Again Oliver Stones does not shy away from controversial material, but you might have guessed that already (or read it)! :o)

First of all, it's amazing now to see how young, baby-faced and gauche Charlie Sheen looks from this distance in time, particularly when he's trying to hit on Daryl Hannah.

In today's dumbed down movie world, Gordon Gekko could have been scripted and played exactly the same except for one thing: you'd never see the scene when he suddenly stops to admire the ocean at dawn. Fortunately Michael Douglas clearly added his own dimensions to the character whom, if left to Stone, would have been a cardboard money-grabber. As far as Stone is concerned Gekko wants money for its own sake, but Michael Douglas manages to evince a man who revels in the power and influence that money gets him. Stone's dialogue actually undercuts this perception on occasion, as when Bud Fox yells at Gekko, "How many yachts can you sail!?", and when Gekko, enticing Fox by outlining how rich he could be, says, "Rich enough to have your own jet" - as if owning a jet wasn't the minimum accoutrement you'd expect from the least successful company director or minor pop star. Other infelicities in the script include the moment when Stone wanted to signal that Bud Fox has reached the peak of success and found it empty: following the montage of the condo purchase and decoration, the perfect meal for two, culminating in making love to Daryl Hannah, Stone has Fox standing on his balcony, and apropos of nothing at all, he just says, "Who am I?" It has to be said that Sheen wasn't really up to the task of delivering this atrocious line.

I've rarely seen a film in which the female lead was so comprehensively abandoned by the director. Stone clearly wanted to focus all his attention on Sheen and crucially on Douglas, leaving Hannah floundering and unable to clearly express just how much into Bud Fox her character is at any one time. At the final break-up you almost hear Stone's sigh of relief at being able to get rid of the irrelevant female (probably forced on him by the studio) and concentrate on the man's world of stockbroking.

I seem to be finding a lot of flaws in what is basically a most compelling and watchable film. Despite the complex jargon-riddled technicalities of the subject matter, the movie's plot grabs hold of the viewer from the first scene and never lets go. Of course Douglas dominates most of the movie, until Fox sr. (Sheen sr.) throws the spanner in the works of his son's airline deal. Thank heavens Charlie Sheen took the unbelievably courageous decision to have his own father (instead of Jack Lemmon) play his character's father because the two of them perform an absolute barnstormer of a scene in which every word, inflexion and facial expression is repleat with absolute truth; and it's all the more poignant considering Charlie Sheen's own personal difficulties which faced him in later years, and the well-publicised ups and downs of his relationship with Martin as a result. Had those troubled times preceded this movie, it's hard to imagine the performances could have been any different - that's how good they are.

Fantastic character support comes from Hal Holbrook, the always reliable Saul Rubinek and John C. McGinley (who does not seem to have changed at all in the intervening years!), a young James Spader and the magisterial Terence Stamp who understands the unutterable menace with which it is possible to lace the single word "Mate".

I did think that this movie was pretty good. I was quite excited when I went into this movie as I was aware of the mostly positive reviews that it had received over the last two decades. I must say that I do not believe this film quite lives up to the hype and all the positive things that I had heard about it.

The performances of Douglas and the Sheens are very great, but again, I'm not sure as they were as mind blowing as all the hype leads one to believe.

The plot was a bit ho-hum for me. It is a good story to see someone who is young and hungry but at the bottom of the barrel rise through the ranks to become a sensation, but for me the way that it was carried out in "Wall Street" could be a bore at times. If you compare this situation to Ray Liotta's character in "Goodfellas" I think you will really see how this could have been better accomplished.

I don't mean to be too harsh with this movie because as I said with my first sentence, I did like it, I just don't think it is quite as good as one might think it to be.

This is a 1980's classic to say the least. And for me at least one of the movies that defined the financial era of that decade.

Bud Fox (Charlie Sheen) is an up and coming stock broker who dreams of getting that big account. He works at a firm, calling people and trying to get customers. Then suddenly it happens. He manages to catch the big fish that everyone wants to catch. Gordon Gekko (Michael Douglas) is a big-shot in the business and soon Bud Fox is treated to the wonders of big finance, but also to it's less flattering sides.

I would not call this movie a masterpiece (like some people do). But it is certainly an entertaining ride. Michael Douglas does one of his best performances ever as the stone cold Gordon Gekko. Charlie Sheen also does one of his better parts as Bud Fox who tries to keep up. Terence Stamp on the other hand is quite silly as the benevolent stock broker who thinks about the little man... And here is also the biggest problem with the movie. The set-up is that you are supposed to think Gordon Gekko is a bastard. He buys companies, cuts them up, fires everyone and walks away with the money. But still, for me at least, Gordon Gekko was the hero while watching the movie. He was the immortal "cool" guy who got the job done, had the private jet and the fancy cars. So who should i idolize? Who do i want to BE? Not the snotty Englishman with his outdated views on morality that's for sure.

Therefore, as a morality tale this movie fails quite miserably. But as a look into the greedy and fast-moving 1980's it's highly entertaining. And if that's what you're after this is highly recommended.

Wall Street could have fit in very nicely in the theatres today. The bull market of the late 80's can be compared to the insane dot.com market of the late 90's, the same mistakes made on Wall Street repeated themselves again. Hal Holbrook's character is the voice of reason in Wall Street, telling Bud Fox (Charlie Sheen) to stick to the basics, and not get carried away with going for the easy buck. Fox is entranced by dynamo Gordon Gekko (Michael Douglas), whose specialty is taking over and "wrecking" companies, "because they're wreckable". Gekko takes Fox in as his protege, teaching him the ropes and showing him the realities of greed. Fox becomes corrupted, and despite the sobering influence of his union man dad (Martin Sheen) gets ensnared in Gekko's web. Great performances all around, Douglas was deserving of the Oscar, Charlie Sheen was very good in his role as well. There are terrific supporting roles in this movie; Martin Sheen, Holbrook, Terence Stamp and Oliver Stone's favourite character actor, John C. McGinley. For all of Stone's later failed movies, Wall Street hits the nail on the head, and above all entertains the audience. It's hard to see how the same man directed trash like Natural Born Killers afterwards.

Dear lord, I have never seen so many greedy and heartless people in my entire life!! This movie is about a young and impatient stock broker who feels the need to get to the top. He spends his time idolizing and trying to get in touch with billionaire Wall Street tycoon, Gordon Gecko(Douglas in a good, but heartless Oscar winning performance.) He finally gets in touch with him and soon begins working for him, giving him inside tips about his father's(Martin Sheen, as an aircraft mechanic) company and helping him buy up other company stocks. But things soon start to get ugly when Gecko begins to have sinister plans for his father's company that will put even more money in his pockets.

An entertaining story, but an absence of any likable characters, except for the two Sheen's as father and son leaves you with a sour taste in your mouth. Hearing Gordon Gecko say that "greed is good" and that its your own fault if you are not rich was enough to make me hate his character. This movie truly shows how capitalism can get way out of hand, and how some people just do not care about anything except for being the richest person in the country. Some people just have way too much and many times its just luck.

I would recommend this movie for anyone who enjoys a good business film, but don't be surprised if you find yourself hating many of the characters in this greedy film. ***1/2 out of *****.

Oliver Stone's vision shines through with gravity defying momentum in a film that many historians say is one of his five or six Masterpieces. I agree with the Masterpiece status of this film, it's a truly great piece of Cinema.

Michael Douglas stars alongside Charlie Sheen and Martin Sheen. Charlie Sheen delivers a good Performane in this film and he keeps up with his Martin Sheen and Michael Douglas, which is saying a ton. Many Actors would overreach trying to keep up with Michael Douglas and Martin Sheen, but Charlie Sheen reaches just enough without crossing the line to deliver a good performance.

Martin Sheen is such a crafty Actor, he has dynamic subtleties as an Actor that make him so commanding, unique and interesting to watch. He really performs great in this film and the 'hospital bed' scene is the kind of scene that College Drama Professors would show their class as of how to Act while pointing out how incredibly hard it is to deliver a scene as such.

Michael Douglas also is a Screen Commanding Actor, and you can't take your eyes off of him and the fact that he has the 'it' factor in most Films he's in. He's the kind of Actor, much like Martin Sheen, that you know you're watching greatness, but you can't quite put your finger on the why, but you know you're seeing it right before your very eyes on the screen; and this Film is no exception.

In smaller roles, Terence Stamp puts on an extremely good performance that not many could do as the part called to basically be as or more commanding than Michael Douglas, and Stamp has the talent and craft to do it, and the scenes with Stamp and Douglas flat out work; and as with all of these scenes, Stone captures it almost perfectly.

Also in smaller roles, James Spader performs good in a part that many Actors would've over or under reached; Spader does neither and delivers. Hal Holbrook's scenes work, flat out, and quietly as he so often does. John C. McGinley performs extremely well as he almost always does, and without stealing scenes, he performs with a high level of energy bordering on a 'live' performance; it works, no question.

Until she got her eye plucked out of her skull in Kill Bill Volume 2, Daryl Hannah brought lifelessness to every role she was in, including her performance as Darian Taylor, the "great spender of OTHER people's money", in Oliver Stone's otherwise good movie, Wall Street. As much as this movie tried to show the greed and decadence that existed in the mid 1980's, the film makers tried, and failed miserably, to cash in on the popularity of this young actress, at the time, only to have cast one of the worst actresses of a generation. Every scene which did NOT include Daryl Hannah was a pleasure to watch and listen to. You really felt the greed in Michael Douglas' Gordon Gecko and could feel the changes in Charlie Sheen's Bud Fox, but whenever Daryl walk on the screen, the entire energy flow that was present beforehand, was completely obliterated by her presence. Up until this role, her best parts were a mermaid (Splash), an android (Blade Runner), and a cave-woman (Clan of the Cave Bear - there were no speaking parts in this one.). After those roles, when she had to play an actual human being who could talk, she totally ruined everything she was in, including this movie which I would have given a 9 or 10 to if she wasn't in it.

One of my all time favorite movies. It shows the real realness and also shows the dirty dark underbelly of the sliminess of the 📈 game as well. Definitely the start and precursor to Boiler Room and Wolf of Wall Street. I watch this every time that it comes on.

Directed by Oliver Stone. Starring Charlie Sheen, Michael Douglas, Martin Sheen, Daryl Hannah, John C. McGinley, Hal Holbrook, Terence Stamp, James Karen, James Spader, Sean Young, Saul Rubinek, Sylvia Miles. (R)

Ambitious but wet-behind-the-ears day trader, Bud Fox (Charlie Sheen), seizes the opportunity to bump elbows with stock speculator and corporate raider, Gordon Gekko (Douglas), accepting his mentorship and wealthy glamour in exchange for insider trading info (and, gasp, his soul?). Stone's exposé on the ruthless, driven world of Wall Street (his father was a stockbroker who died a couple years prior) is exciting but ugly, full of sharks in suits and blue collar fish food, camera circling and zooming like a predator; the dialogue/lingo isn't dumbed down to suit people who wouldn't know a stock listings directory from a phone book, but it's a credit to the screenplay (by Stone and Stanley Weiser) that it's never difficult to follow and anticipate. Both Sheens (playing father and son) do credible, faintly nuanced work; Hannah is dull as dishwater as Bud's materialistic girlfriend (most involved in the film agreed she was woefully miscast). But Douglas walks away with the film--and an Oscar--delivering several memorable monologues and finding that right mix of charisma and venality that makes Gekko so understandably envied or loathed (depending on the character's viewpoint). The final confrontation between the leads (and subsequent fallout) rings false, and the scenes with younger Sheen and Hannah are yawners, but there's enough dramatic sizzle here for a solid recommendation. Strange how Stone created two very memorable 80s villains (Gekko and Tony Montana) that are viewed in some circles as aspirational figures of the American Dream!

73/100

Oliver Stone's follow-up to his Oscar winning 'Platoon' moves through a different battleground: the high-tech jungle of corporate takeovers and insider stock trading scams. Not unpredictably, the film shows the same dizzy, kinetic intensity as its predecessor, and the same unfortunate reliance on ham-handed melodramatic exposition. Some of it couldn't be avoided: few laymen can pretend to understand the mechanics of high finance (not to mention its arcane language and customs), forcing Stone to depend on simple, stock characters and distracting camera pyrotechnics, with his lens constantly dipping and rising over even the most banal dialogue passages (at one point the screen isn't able to contain all the visual hype, and splits into multiple images). Stone's screenplay, like his overdressed cosmetic style, is too quickly and too often sidetracked into histrionic overkill, but the film at least earned Michael Douglas a well-deserved Academy Award for his energetic reading of a one-dimensional villain role.