Critic Reviews



Based on 18 critic reviews provided by Metacritic.com
Costa-Gavras' film excels as a meticulously researched procedural that goes deep into the grime of greed, deception and cynical exploitation. But it is also a wickedly clever character analysis of a man more divided against himself than his preternatural calm suggests.
Gavras never forces the material into allegorical turf; it's a relatively straightforward look at the ramifications of getting blinded by dollar signs, with perhaps one of the most clearly defined visions of economic depravity since "Wall Street."
Costa-Gavras develops such a propulsively suspenseful pace - with no small assist from Armand Amar's mood-enhancing Euro-tech score - that his drama comes across as the cinematic equivalent of an engrossing page-turner you might purchase off the rack at an airport newsstand.
Clearly, Costa-Gavras has lost none of his kinetic pacing or his cerebral way with thrills. Unfortunately, the script later gets corrupted itself by a sexual melodrama that lacks both sense and sultriness.
A film that lingers in the memory in spite of being rather irritating to watch.
A mildly entertaining sermon about American “Cowboy Capitalism” as it rubs up against “The French Way.”
Costa-Gavras's new film is more a funhouse-mirror panegyric (albeit on an exhausted topic) than the staid thriller promised by its press materials.
The famously left-leaning Costa-Gavras is preaching to the choir in his indignation, but he does so in slick, brisk fashion.
While the film is persuasive and detailed in its depiction of financial corruption, it's also essentially a two-hour lecture, dry and academic.
Uneven as Capital is, unlike so many films about capitalism it's never boring and is unafraid of its point of view.
Sex is plentiful, but the lust is for paydays. This is territory covered far more vibrantly in “Margin Call,” yet director Costa-Gavras (“Z,” “Missing”) still has good, old-fashioned indignation to count on.
Yet despite recent solid entries like "Margin Call" and "Too Big Too Fail," we're yet to see the first great contemporary movie about the country, and world's, economic woes, and unfortunately Costa-Gavras' Le Capital doesn't remedy that situation.
The imagery is cliché, and therefore ineffective; the characters don't seem to operate in the world of finance, but in the world of financial thrillers.
A tacky corporate noir that makes you long for the leanness of Margin Call, or even the clumsy theatrics of Arbitrage.
Capital ends up being neither a high-stakes thriller nor a cutting commentary on real-world bad behavior. It's just CEO exotica, all dressed up with nowhere to go.

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