6C • FRIDAY, AUGUST 26, 2016
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Dastardly dames Anna Gunn stars as Naomi Bishop in the movie “Equity.” (Special Photo: Sony Classics)
‘Equity’ holds little promise, ends predictably Equity (R) ★★★★
edges, glass walls, brushed nickel trim, mahogany conference tables and impossibly eclectic world artwork that some might describe as cold, obtuse and sterile. The set BY MICHAEL CLARK designs perfectly match the Movie Critic calculating narrative. Written, produced and Movies about deceptive directed by three different or shady American financial women, “Equity” has gained institutional practices used a modicum of pre-release to be a rarity (can you name buzz because it also features another film besides “Wall a mostly female cast in roles Street” that is older than 10 that have usually been played years?), but since the 2007 by men. The good news is meltdown we’re seeing that the filmmakers never use two or three a year. While gender to define their charsome of them are very good acters — they just happen (“Margin Call,” “The Big to be women. Some people Short,” “Too Big to Fail,” will say this was a missed “Inside Job”), most of them opportunity. To make a movie (“The Wolf of Wall Street,” set in the corporate world “The Company Men,” “Wall and not include some type Street: Money Never Sleeps”) of “glass ceiling” metaphor/ are not. Regardless of quality, comparison defeats the whole a scant few Americans wish purpose. to see such productions. Whatever “Equity” has in While not connected the plus or minus columns, to any of the above titles it has nothing to do with plotwise, “Equity” is set gender. If anything, the filmin the world of New York makers insinuate that women finance and is populated with are as cold and calculating ruthless characters always as men, which, if you think on the make and/or looking about it, is not news, original for any kind of edge, legal or or groundbreaking. All of the otherwise. gender roles here could have Like most films of this ilk, been reversed and it would it is awash in detached style have done nothing to change with lots of sleek, defined the outcome.
Alysia Reiner stars as Samantha Ryan in the movie “Equity.” (Special Photo: Steve Buckwalter/Courtesy of Sony Classics)
“Equity” opens with Naomi (Anna Gunn) in an evening dress in front of her high-priced bathroom mirror that has a TV screen built into it. As we find out later, what she’s watching is bad news. A company she backed in an IPO underperformed and lost millions. Her reputation in the industry becomes instantly tarnished, which makes her next venture all that much
harder to orchestrate. This time out, it is with a security company attempting to branch into social media whose claim to fame is an unhackable website/operating system. On the road leading up to this IPO, Naomi might be under investigation by her old friend Samantha (Alysia Reiner), an assistant district attorney working on an insider trading scandal that may
or may not involve Naomi’s co-worker (and current, uncommitted lover) Michael (James Purefoy). Cool, calculating and completely unflappable, Michael is suspected of passing touchy information on to some hedge fund contacts who pride themselves on being ahead of the curve in IPO/buyout/merger deals. He’s never been convicted or even charged with anything, something Samantha is trying to change. The wild card in the mix is Erin (Sarah Megan Thomas), Naomi’s married right hand assistant, who is unhappy that she hasn’t received a raise in, like, forever and has caught the wandering eye of one of the owners of the company that is about to go public. For Gunn, a role like Naomi was exactly what she needed after playing the passive/aggressive Skyler for the duration of “Breaking Bad,” and she runs with it. When not on the clock (which isn’t often), Naomi is playing mind games with Michael or beating up on a punching bag. She’s no one’s fool (or so she thinks) and is secure enough in her abilities to never play the “fairer sex” card. She will win or lose
solely based on her business acumen — or lack thereof. The second act of “Equity” is by far the strongest in the film. With the motives firmly established, the filmmakers are allotted a wide swath of narrative canvas on which to paint, and they do so well. The multiple problems arise in the third act when two of the four leads’ fates end as we might think while another sells out and yet another changes motivational stripes. None of it is shocking and all of it is predictable. Including a lesbian character in a 2016 film is not as groundbreaking as it might have been 10 or even five years ago, and here feels like something tacked on for no reason whatsoever. It might be unfair but if female filmmakers — and female leads — wish to break into such a sacred cow, maledominated world as vicious, Wall Street-based bloodsucking finance — they’re going to have to come up with something a lot more daring, deep and gender-significant. The terribly generically titled “Equity” is a well-intended first step in the right direction but nonetheless is a halfrealized effort. (Sony Classics)
‘Southside with You,’ one of the best date movies of the year Southside with You (PG-13) 3 1/2★★★★ out of 4 stars
BY MICHAEL CLARK Movie Critic
Beginning in 1995 and concluding in 2013, Richard Linklater’s “Before” trilogy attempted (and succeeded) to do something a scant few filmmakers had previously attempted. He made three movies with the same two lead characters who just talked to each other the entire time. There was little in the way of camera movement, only fleeting supporting characters, no fancy editing and absolutely no chase scenes or explosions. Based on box office numbers, it would be correct to say the majority of audiences weren’t interested in these films, but that won’t likely be the case with “Southside with You.” Taking place on a single summer’s day in 1989, it follows a couple on what only one of them initially considers to be a “date.” The other party is adamant that it is merely two coworkers attending a local community event where activists will toss out ideas on how to improve living conditions in what was then and is still now one of the most dangerous, crime-riddled places in the U.S. The young man shows up late to pick up the young lady which is something he will do frequently in the future. Before he left he dumped dirty
not. Written and directed by Richard Tanne (in his feature debut), “Southside with You” includes a great amount of dialogue that will flat out surprise and maybe even stun you. During their stroll in the park Barack speaks of his father in a decidedly disparaging manner that completely flies in the face of what he wrote in one of his books (“Dreams of My Father”). Past drug use is discussed, as is interracial dating and the difficulties of a young black woman being taken seriously in a field (law) dominated by mostly older white men. This might also be the only movie ever made where a character playing a once/ future or current U.S. president drops an F-bomb. There are so many ways for a film like this to go awry — overacting, under-acting, rose-colored Tika Sumpter as Michele Robinson and Parker Sawyers as Barack Obama star in “Southside with You.” (Special storytelling, hand-wringing Photo: Matt Dinerstein/Courtesy of Miramax and Roadside Attractions) political grandstanding, the canonization of people who dishes atop more dirty would later go on to make the point that she has no and determination — and people) will staunchly dishes in his apartment history yet Tanne and the interest in him romantically that ever-constant, oozing refuse to see “Southside sink, smoked the first of two leads never let it hapbut does let it slip that other charm — will win her over. with You” solely because many cigarettes and rode pen. It helps a great deal female co-workers consider Upon arrival at the meet- of political bias; much in to her parents’ house in a that Sawyers and Sumpter him to be cute. He eats that ing she gets an earful from the same manner (mostly dilapidated car that would up with a spoon. mostly elderly women who left-leaning) others avoided are physical dead ringers likely not pass inspection When they go to a park congratulate her on landing the two recent (unflattering) for Obama and Robinson codes in most states. for lunch she forces him to the man they all consider to films about Hillary Clinton. and both (particularly he) What she doesn’t know is take money for the sandbe a de facto perfect catch. If you can put your political nails their cadence and that he’s planning on wow- wiches he just bought and speech patterns without She politely and repeatedly views on the back burner ing her with his consideroutright imitating or parrotit is determined he likes pie corrects them but it does for just 83 minutes, you’ll able charms by first going while she prefers ice cream. no good. It is when he adbe treated to one of the best ing them. to an African American The film ends with a On the way to the meeting dresses the group that she date movies of the year exhibit at the Chicago Art final scene that is what we they pass some local street begins to see their point. that just happens to depict Institute; a highly calculat- musicians and she lets her would like to have hapHe’s impassioned, articuBarack Obama (Parker ed move that pays off. No pened at the conclusion guard down by dancing late, has a superb command Sawyers) and Michelle two people view art the ex- (solo). He’s entranced and of the last first date of our of the English language Robinson (producer Tika act same way and it’s clear beyond attracted to her. and is polished but not Sumpter) on their first date. lives whether you prefer their tastes overlap more left or right or something He knows that in many slick. For those on both sides than they don’t. Before, af- she’s out of his league yet in-between. It wouldn’t be going of the aisle who think this (Miramax/Roadside ter and during this first stop hopes his steady but never out on a limb to predict will be a low-calorie fluff Attractions) she keeps hammering home overpowering confidence many (mostly right-leaning piece, rest assured it is