Supercapitalist

With its minimal settings and focus on the abstract lingo of market transactions, "Margin Call" stands as the new model for how to do Wall Street on a budget, embedding its moral themes in language and complex characters. By comparison, $upercapitalist seems naïve about both the market and the humans who operate in it.

The dull, hectoring financial melodrama Supercapitalist has all the spark of a high school assembly skit about not letting friends drive drunk.

Dry as new bank notes and doggedly uncinematic, Simon Yin's $upercapitalist approaches the seamy side of international finance with a story as stale as the subprime meltdown.

Ultimately plodding and resolutely old-fashioned, a corporate thriller for folks too square to indulge the possible existence of hungers so strong they must be satisfied at any cost.

Filled with enough clichés to be broken up and sold in pieces as junk material.

Even caped do-gooders couldn't save Supercapitalist, a dramatic dud whose title refers not to some big-business hero but rather to wheelers and dealers living lives of swank suits, fast cars, loose women, plentiful drugs, and goofy corporate-espionage spy games.

Mostly, this DOA movie is an excuse to hammer home that there's more to life than making a shit-ton of money. Take that, Wall Street!