Reviews provided by RottenTomatoes
Mary F. Pols,
The main reason to see Arbitrage is Gere, whose steady improvement with age (he just turned 63) is not remarked upon enough.
San Francisco Chronicle:
Features an exceedingly dapper Richard Gere in a series of nice suits and handsome close-ups that serve no purpose other than to remind us how exceedingly dapper Richard Gere looks in nice suits and handsome close-ups.
Gere does his best to give Arbitrage an agitated energy, but Jarecki's fatalism works against the film.
New York Times:
Mr. Gere is one of cinema's great walkers, graced with a suggestively predatory physical suppleness, and he slips through the movie like a panther. He's the film's most deluxe item.
New York Magazine/Vulture:
There are holes in the plot, to be sure, but somehow we don't mind, because for all the unbearable tension of Jarecki's script, the central attraction here is the man in the arena.
Wall Street Journal:
It could readily be mistaken for the work of an experienced and justifiably self-confident filmmaker with a nose for newsy stories, a knack for telling them tersely, and a gift for directing actors
Arbitrage overcomes some pulpy plot twists and a little anti-corporate sermonizing to become a brisk tale of a financial wizard whose sins have returned to collect a debt.
"Arbitrage" is a fine showcase for the silky talents of Richard Gere, who's so smooth here you could spread him on toast.
Between Gere matching wits with a police detective played by Tim Roth and him having to explain himself to the steely Sarandon, Arbitrage is never dull.
The movie wants to be an instant Sidney Lumet classic along the lines of "Serpico" or "Prince of the City," but it doesn't have the roots. It's new money.
This isn't very effective as a thriller, though it's a provocative fable about our ambivalent feelings toward financial elites.
I enjoyed it, even as I hustled here and there to keep up with its Wall Street argot. The writing's juicy and effective, and the actors have fun with it.
Gere's very good at making Robert's compromises seem more human than horrid. He portrays the philanthropic, philandering patriarch with his customary twinkle.
Jarecki, it's clear, has the talent to make shrewdly pleasurable Hollywood movies. Here's hoping Arbitrage is the first of many.
In the end, the moralism of "Arbitrage" feels glued-on rather than earned.
Nothing about the plot is novel, but the film easily maintains a low simmer that picks up in the final act, as Miller has to fight to keep his sinking ship staffed.
Gere has always excelled at portraying smooth, elegant men who know a little more than everyone else in the room. But in Arbitrage he's playing a different note: Desperation.
"Arbitrage" gets away with a few crime-flick cliches because it's also a thoughtful character study.
Part thriller, part character study, and it moves swiftly and confidently, with many details that feel exactly right.
Unfolding in somber tones and among hard surfaces, Arbitrage has the slickness of new bank notes and the confidence of expensive tailoring.
New York Post:
I'm not sure any five pages of this script by director Nicholas Jarecki hold together.
The screenplay, written by first-time director Nicholas Jarecki, keeps us guessing, which is one of the best compliments one can pay to a movie of this sort.
Hitchcock called his most familiar subject "The Innocent Man Wrongly Accused." Jarecki pumps up the pressure here by giving us a Guilty Man Accurately Accused, and that's what makes the film so ingeniously involving.
Richard Gere's performance in the sinfully entertaining Arbitrage is too good to ignore. At 62, he is at the peak of his powers.
Gere is so charming, so irresistible when he's on top of the world - when he's got all those plates humming in unison - that he kind of makes you root for his character to get away with it all.
St. Louis Post-Dispatch:
Paced like a slick '80s thriller but themed for millennial relevance, "Arbitrage" splits the difference with a confidently cruising Gere.
Globe and Mail:
Gere gets the role he has been suiting up for ever since he was first designer-dressed for a murder rap in American Gigolo.
A tight thriller that shows [its] handsome star in fine form as a morally bankrupt financier playing fast and loose with ethics and the law.
Sex, wealth, paternal swagger-all of the colors come out of Gere in a showstopping performance.
Between this cast and the conviction Jarecki brings to the table, the film feels incredibly accomplished for a first feature.
"Arbitrage" becomes far more complex than just dramatized anti-corporate polemic, or even a simple fall from grace.