Equity is a cold, unblinking look at Wall Street’s backrooms, through the eyes of a female dealmaker who’s trying to recover from a failed transaction. Her client’s shares traded too low during the initial public offering, and now she’s got a target on her back. Equity throws us into the immediate aftermath and we watch her as she tries to save her career by putting together a bigger, better deal.
Anna Gunn (Breaking Bad) is well cast as the investment banker protagonist. She is cold, smart, and driven, a shark among fish. She never backs down from anyone, and gets us to root for her character without being particularly endearing or warm. That is Equity’s strongest trait: it gets us to respect both Gunn’s character and her antagonist, federal prosecutor Alysia Reiner, without resorting to familiar gender stereotypes for wither character.
If you have at least a passing interest in finance, Equity’s story will draw you in and keep your attention until the end, avoiding most cliches throughout, at least when it comes to the main females. The male supportung characters fare less well, as they are all thinly sketched stereotypes (e.g., sexist boss, backstabbing boyfriend, and frat boy internet sensation). It is refreshing, though, for women to be the most compelling and realistic characters for a change.
Equity is no more or less than a Wall Street drama. It is a well-done addition to the genre, but feels somewhat constrained by its chosen niche. With that said, I appreciated that Equity unapologetically shows that women can be just as ruthless as men and shouldn’t be held to a higher standard based on outdated conceptions of femininity or motherhood. I also liked that the writers did not force a tidy resolution on the audience (which may be tied to the fact that a spun-off TV show is in development).
In the end Equity intentionally leaves the audience cold, but the challenge to gender stereotypes sticks even as the story beats start to fade from memory. I’d count Equity as a success thematically, and it’s entertaining to boot. In financial terms, it’s not a career defining deal but it’s still one that deserves handshakes and high fives all around on closing.
(John Ortiz), an ex lover, is married with a kid, though his relationship isn’t rock solid. He’s excited to have Anna around again, but you wonder if it’s real friendship he’s after, or the attention she can bring to his flagging career. A play wright, he’s got one ace in the whole: a new script he’s developed that revolves around a character that very closely (and unflatteringly) resembles Anna. Kate (Cara Seymour) is more reluctant to see her old friend. Is it because of the betrayal, or something else?
girlfriend on Sons of Anarchy), which registers a double impact for every blow the film lands. Literally seen swimming amid a sea of scripts containing empty female parts, Siff is every female actress of a certain age searching for meaningful work. Anna’s opposite, Nadia (Dagmara Dominczyk), has given up her own work to be the rock of her family; her husband, Oscar, depends on her to be the stable one at home. But Nadia doesn’t want to be the rock anymore – “the rock is boring” she says, a line many of you will want to high-five because women are more than just someone else’s support (note to Jax!).
meandering but not as aimless as it first seems. Adan has a lot of room for self-actualization and self-improvement, but Syeed doesn’t insult us with a quick fix. Instead, the dog is a catalyst for Adan’s adopting a gentler perspective to the unknown. The result is a realistic testament to the immigrant experience. Both Adan and the stray dog are unwanted but the film resists a too on-the-nose metaphor. Instead it chooses to see possibility and understanding, which is a beautiful thing to see in theatres, especially at this particular time when the question of refugees is so urgent, and some people’s response so full of hate and ignorance.
immediately suspicious of his impractical, ego-driven work. Drew, however, is flattered to be his muse and determined to be a “good client.” But as the two work more and more closely together building this dream home (whose dream is it?), Colin starts to be the third wheel in an awkward little triangle. And he’s footing the bill!
was…unusual, intense, disturbing. I wasn’t even sure I wanted to see it. You may know by now that Jay and horror don’t mix. But Sean was keen despite my own warnings, so we hunkered down in the same beautiful theatre where I barely survived watching 
beautiful for such a twisted movie. The monochrome may lessen the impact of the gore but it only serves to heighten the intensity of the atmosphere, creating a world I was never sure of, never trusted. So while there’s little in the way of jump-scare, there’s plenty of hair-raising all the same.
destruction is at stake. Some kid used a ratchet rather than a wrench, and an 8 pound socket was dropped. Picture, for a moment, what this giant missile really looked like: from the bottom, you couldn’t even see the warhead, which was at the top, 8 stories up. The boys, working somewhere in the middle, dropped a big hunk of metal which made 1 bad bounce, tearing a chunk into the side of the missile which immediately began spurting oil. Nobody really wanted to own up to this possibly extinction-level fuck-up, so a half hour went by before anyone with any authority knew what was going on. And this being a government operation, a further 8-10 hours went by before anything was done about it. So the bottom fuel compartment was emptying quickly, which meant the top part was about to collapse in on itself at any moment, likely causing a huge-ass explosion even not counting the fact that a MOTHER FUCKING WMD WAS SITTING ON TOP!
ASSHOLES WATCHING MOVIES 