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Arbitrage is one of the rarest thrillers around today – a morality tale that propels its gripping story through poor character choices and the ensuing aftermath rather than left-field twists and pointless action. The complexity of the characters on display in director Nicolas Jarecki's feature debut (and the fine actors who bring them to life) are fascinating to behold and deliciously infuriating in the way that the script forces you to rationalize on their behalf, even when they perpetrate some of the worst crimes imaginable.

The plot of Arbitrage is at its core very basic, but from that seemingly simplistic foundation springs forth a disastrous series of errors of near Shakespearian proportion, ultimately avoidable as they all turn out to be. We first meet with hedge fund manager Robert Miller as he hounds his subordinate to track down the CEO of a rival corporation for a final authorizing signature that will conclude the sale of his firm. Unbeknownst to everyone but him and his accountant, Miller has committed fraud and cooked the books to hide a disastrous investment in a Russian copper operation. Through this sale he can more than cover his losses and retire a multi-millionaire, but after another mistake (this time on a far more personal level) his transgressions at work pale in comparison.

It is through Gere's remarkable performance that we come to sympathize with a man who is not only a liar and a fraud that uses those he loves and dispose of those he needs without a second thought, but who also descends into something far worse: a murderer (at least in the eyes of the law). However, we can see deep down he loves his family, will right all financial wrongs with the sale of his business without anyone being hurt and mostly had non-malicious intentions when fleeing the scene of his crime. We become so caught up in this character's predicament and the world in which he thrives is so equally callous and ugly he comes off as part saint despite being everything an average person despises – he is the one percent and essentially rides above the law.

Having given up his mantle of A-list leading man some time ago, Gere, instead of rushing headfirst into subpar roles that would keep him somewhat in the spotlight, has become a superb actor in his own right choosing interesting projects from The Hoax to The Hunting Party. His performance in Arbitrage is perhaps his best work ever, exuding charisma, spewing malice and emanating explosive energy at the perfect junctures. Jarecki's script and Gere's work is the perfect marriage of actor and material.

The supporting cast is equally superb. Susan Sarandon does a great deal with limited screen time as Robert's wife, as does Brit Marling as his daughter and unofficial partner at the firm. Tim Roth does his evil thing without missing a beat as a determined and justice-blurring cop (though his accent slips a few times) and relative unknown Nate Parker as a past connection of Robert's who plays an pivotal (and emotionally potent) role in the deception does scene-stealing work.

Conjointly as is the case with ludicrous revelations and senseless violence, in most thrillers a last-act imposition occurs, stripping any good will that may have been awarded and leaving nothing but a sour taste. Arbitrage has a perfect – perfect – ending and is immediately preceded with two fascinating examinations of character in both Miller's wife and the buyer of his firm. The overarching theme amongst these catharses is that money rules all, but the execution and timing of both comes off as nothing close to hollow.

It is easy to fathom certain viewers being bored or put off by the deliberate pacing and stylistic choices Arbitrage makes, but that is no fault of this tense and involving film but rather of the spoiled, ADD generation that can't make it through 100 minutes of cinema without multiple shootouts, riveting as it all is. As the antidote to bland Hollywood white-knuckle escapism, Arbitrage is the sublime archetype, substantive and lasting and proving that smarts and dedicated performers can drive a compelling narrative.

Arbitrage – CATCH IT (B+) Arbitrage is an interesting thriller New York hedge-fund magnate Robert Miller (Richard Gere) on the eve of his 60th birthday; he appears the very portrait of success in American business and family life. But behind the gilded walls of his mansion, Miller is in over his head, desperately trying to complete the sale of his trading empire to a major bank before the depths of his fraud are revealed. Struggling to conceal his duplicity from loyal wife Ellen (Susan Sarandon) and brilliant daughter and heir-apparent Brooke (Brit Marling), Miller's also balancing an affair with French art-dealer Julie Cote (Laetetia Casta). Just as he's about to unload his troubled empire, an unexpected bloody error forces him to juggle family, business, and crime with the aid of Jimmy Grant (Nate Parker), a face from Miller's past. Arbitrage has a very interesting concept, when you thought its only about the financial corruption, the movie takes a huge turn and we see a 60 years old man wounded juggling to control his financial status along with the crime he committed unintentionally. Richard Gere is phenomenal in Arbitrage; there isn't a moment when he surprises you with his brilliant performance. I have to say after a really long time I saw Richard Gere in a movie up to his caliber. Susan Sarandon is elegant and even though she doesn't have as many scenes as I would have wanted but still she impresses me as always. Brit Marling, the writer/director/actress of Another Earth is eloquent and stands tall in front of veterans like Susan Sarandon and Richard Gere. She was so good that I wanted to see more of her even though she was the most featured female among the cast. He NY central part scene with Richard Gere is simply amazing. I would love to see her soon in other movies. She is someone to watch out for in 2013. Laetitia Casta is gorgeous and Nate Parker did his part with utmost honesty. Even though I wanted to see the family dynamics of Robert Miller more but as it's a thriller they kept the movie short to emphasizes on more important matters. I had good time watching it. It's a good thriller.

Nobody does make believe billionaire as well as Richard Gere, something about the way he carries himself encourages audiences to believe he really is that rich, powerful and connected.

Robert Miller is a hedge fund magnate with it all, money, beautiful wife (Sarandon) who dabbles in charity work and a son and daughter (Marling) who both work for him, to differing levels of competency.

Miller has decided to sell his firm to a financial company desperate to plug a gap in their suite of services and products. Talking of gaps, Miller is desperately trying to paper over some financial cracks of his own, borrowing the odd $400 million to ensure pre-sale audits go well.

When presented with the first few images and sentiments, those with a healthy dose of cynicism are just waiting to be introduced to Miller's other life. Enter stage left, the struggling beautiful art dealer, who is being kindly helped by Miller to negotiate her way through the perils of small business ownership. Such assistance being mainly bedroom based will come as no surprise.

Of course modern thrillers are like buses, there is always another one around the corner. What sets this apart is the supporting cast, including Tim Roth as Detective Bryer, desperate to nail at least one bad guy protected behind expensive lawyers. Nate Parker as Jimmy, the person Miller calls when he really needs help and of course his wife played by Susan Sarandon, supportive, self aware and enjoying the fruits of his labour.

Central to the film is Gere, who has not always chosen parts wisely in the past but here plays a character he can really sell to the audience. Morally ambiguous, ruthless yet loyal, he manages to make a character we really should not like, somehow likable. Arguably encouraging questionable and morally perplexing empathy from the viewer, as his choices dwindle to rock and hard place territory.

Gere can act and does so here, Roth manages to convey the woes of the world and is especially good in the first scene with Gere. Not so much a modern fable but a story that evokes that feeling afterwards, how far would you go to protect what you have. Also rather curiously, why would you end up rooting for the bad guy?

Not perfect, Britt Marling perhaps not making the most of her emotional scenes. At times the film lacks a harder edge, would Jimmy ever really be that reasonable. However overall, a cut above the mainstream and well worth two hours of your time.

Summary

A smart, deliciously amoral tale with a strong turn from Gere, choosing a role that suits his talents. Ignored at the box office but hopefully finding a well deserved following at home.

Good script, pacing and an interesting ending to this financial based thriller that does not require you to know that Arbitrage means to 'take advantage of a price difference between two or more markets'.

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It seems quite a letdown that Richard Gere's impressive performance in this handsomely mounted 2012 thriller has been relegated to On Demand, but the same fate befell 2011's "Margin Call", another effectively Machiavellian Wall Street-set thriller, probably because the mechanics of cutting big financial deals just doesn't feel all that cinematic despite being terrific showcases for able actors. With his trademark élan in check, he plays Robert Miller, a billionaire Wall Street investment executive whose silken imperturbable manner can charm and kill at the same time. Miller's company is in the middle of a federal audit as he tries to sell it. The problem is that he has illegally borrowed more than $400 million, well beyond the true value of the company. The lender threatens to take his money back, but Miller stops at nothing to keep the fraud under wraps, his family and the IRS in the dark, and his firm functioning more or less as usual.

Miller is simply unflappable no matter what the circumstance is, whether it's negotiating an unethical high financial deal, attending his 60th- birthday party, or spending a few tempestuous hours with his mistress, a French art gallery owner whose neediness makes Miller vulnerable to a moment of truth he cannot control. An unexpected event literally leaves blood on his hands, and a web of deception drops him further into an abyss. Instead of seeking absolution, Miller moves from chilly manipulation to unrepentant criminality. The evolution feels seamless because Miller never sees anything wrong with what he does, and first- time director Nicholas Jarecki does quite a capable job of maintaining the pace and momentum of an internally driven thriller that allows the main character to unravel in a series of dialogue-heavy scenes courtesy of Jarecki's insightful screenplay, an excellent sophomore effort (his first was co-writing 2008's "The Informers" with Bret Easton Ellis).

Although he was a last-minute replacement for Al Pacino (who would have brought an earthier dimension to the role), Gere is smartly cast here because his screen persona has often provided a glacial veneer over a seething core of anger and resentment. Playing Miller allows him to do just that in a most arresting manner that makes him both morally repellent but oddly sympathetic. As the detective intent on getting Miller convicted, Tim Roth is quite effective down to the Columbo-like inquisitiveness and Jersey Shore accent. Nate Parker brings unexpected depth as the moral center of the story, a Harlem kid whom Miller previously helped out of a jam but who now faces much bigger consequences returning the favor. Indie breakout Brit Marling ("Another Earth") affectingly plays Miller's sharply analytical daughter, the chief accountant of his firm who slowly realizes her father's true nature. Susan Sarandon has relatively few scenes as Miller's insulated wife Ellen, but her steely intelligence comes through in the climax. It's worth seeking out.

Greetings again from the darkness. Most of us don't tread in the world of corporate greed, deceit and fraud that defines the now four years ago financial crisis. Twenty five years ago Gordon Gekko in Wall Street put a face to corporate greed. Writer/Director Nicholas Jarecki now gives us Robert Miller, as portrayed by Richard Gere, for the face of Wall Street fraud ... the step beyond greed that Bernie Madoff made famous. Toss in a Chappaquiddick-type tragedy and it's abundantly clear that Robert Miller is no modern day saint.

No matter how much we would prefer it to be otherwise, there is something to the charisma and emotional power of the few who seize control as politicians, CEO's and cult leaders ... all subjects of recent films. During this film, we never once doubt that Gere's Miller is a scam artist with power. He is not a good guy, despite his warm smile as he says all the right things to his family and close circle of advisors. We are sickened that he is able to fool so many. Yet, the reason this story is so familiar is that it rings so true.

Watching Miller's house of cards slowly crumble is both fascinating and nerve-racking. We aren't rooting for him, but we still get caught up in his web of deceit. His demented sense of "responsibilities" guide him down the path of betrayal ... a path that stomps on his all-knowing wife, his ultra-trusting daughter, his sensitive mistress, and a young guy just trying to get his life in order.

The supporting cast is strong led by Susan Sarandon as the wife, Brit Marling (Another Earth) as the daughter, and Tim Roth as the crusty NY Detective trying to catch the big fish. However, this is Gere's film and he delivers his best in years. It's also great to see Stuart Margolin, who was so entertaining as Angel in The Rockford Files back in the 70's. Another interesting casting choice has long time "Vanity Fair" editor Graydon Carter as the head of the financial institution looking to purchase Miller's company.

Again, the individual pieces of the story are all quite familiar, but filmmaker Jarecki does a nice job of assembling the pieces in a manner that keep us engaged. It's a nice example of how the rules are different for the rich, and show how the worst of them even think they can get away with murder! (www.MovieReviewsFromTheDark.wordpress.com)

I read an interview with Richard Gere about this movie and saw that Susan Sarandon was in the same movie too and thought, "This has to be a good one..." It is OK, but its definitely not great. There is a lot of dramatic tension, but it seems like the script was dumbed down for the Hollywood mass market. Totally understand the rationale of the approach, but I think that, as a result, the movie fell short of being compelling.

When the English do this kind of movie, or the Europeans, what you get is dark tragic theatre. When the Americans try to do it, I think that they end up doing too much test marketing and as a result the movie suffers.

With the really serious depth of talent in the cast, you would have to think that there was much more that could have been put on the screen (and may have been on the cutting room floor for all I know).

There is one redeeming feature though. This movie does reveal a darkness, and offers a comment on the culture of today, of capitalism, of markets, of law etc... It doesn't pull any punches in that regard and that is a really good thing!

It had been a while since I had either seen Richard Gere, Susan Sarandon or Tim Roth in anything noteworthy but to my own surprise, this was being a solid thriller, with truly some great performances by its cast.

It is absolutely true that without its cast this would had been a very formulaic, standard, average, little thriller. As a matter of fact, it more feels like an extended "Law & Order" episode. The characters and developments aren't anything surprising but the movie truly gets made interesting by its cast, who also help to make this a convincing and effective thriller.

I have never even been a too big fan of Richard Gere but he simply was absolutely great in this! He mostly carries this entire movie and he does this by playing a sort of despicable character. So it's a real accomplishment by him that he still managed to turn the main character into a still likable enough one, that you never lost interest in. He doesn't make the right choices throughout the movie but that's what keeps his character interesting and helps to let the movie move along, even during its slower moments.

It's the sort of thriller in which everything starts to go from bad to worse for its main character, when his lies and actions only get him in more and deeper problems and drags those close to him down, along with him.

But really, it remains a far from perfect thriller and still does plenty of things wrong. It does a poor job at handling some of its characters for instance. For example, it heavily under uses the Susan Sarandon character, who could had given the movie a whole other dimension and some more depth with her character. After all, she plays the main character's wife, who has certain knowledge about things that don't come into play until very late into the movie, when things are already starting to wrap up. The whole dynamic between her and the Gere character had much more potential really and I thought it was a real shame this didn't get explored any further and better. Also, I would had loved to have seen more of Susan Sarandon, since she gave away a great performance.

That's a bit of a problem with this entire movie; it just doesn't know how to handle and what to do with certain characters. The Tim Roth character also definitely feels a bit underused. When he shows up you think he is going to play a big and important role for this movie but in fact there are large portions of the movie in which his character plays no role at all. I absolutely loved his scene with Richard Gere and I was hoping for more moments like that, which unfortunately just never came.

I still really enjoyed this thriller and at times was even loving it. It's definitely a better than average genre attempt, despite still having a very standard and familiar type of premise and story in it. So in essence, nothing surprising but it's all still very well made and acted out by its impressive cast, which already is worth the price alone.

7/10

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Richard Gere in his probably best performance ever, confident, tense, deep. The veteran actor used all his qualities in this very gripping "Arbitrage", a drama about crazy and cynical calculations behind Wall Street intrigues. Arbitrage asks the viewer to sympathize with a guy

cheating and trying to cover terrible things and shows many different characters, such as hard-working cops, an immaculate daughter, ruthless business partners, as well as a suffering wife. There are holes in the plot but the audience doesn't mind too much, because of the perfect tension and the detailed script. Gere is perfect, he gets to show real desperation, anger and discomfort at the same time. Arbitrage is special and different from other similar movies due to its refusal to condemn this world.

"What's your price?" The question haunts Richard Gere's character of Robert Miller, a vain hedge fund manager married to Ellen (Susan Sarandon) and preparing to hand down his business dynasty to his daughter Brooke (Brit Marling). That is, until a freak accident with his mistress coincides with a self-perpetrating fraud scandal. Now confronted with unprecedented stress, Miller has to fight to keep his family and business intact.

Richard Gere's absence on the Oscar nomination stage for the entirety of his career will hopefully be ended with this stunning character study. Gere is in perfect form, personifying a complicated man who for once sees the results of his narcissistic actions. While his empire crumbles, his personal life goes the same way. Every scene Gere is in brings to light just how powerful an actor he is.

But an actor would be nothing without a powerful script. The author of the film's screenplay is also the film's director, Nicholas Jarecki, the co-author of the 2009 film adaptation of the Bret Easton Ellis film "The Informers". In his largest film yet, Jarecki keeps with themes of arrogance that comes with power. The script moves at a brisk pace, keeping your attention and leaving you nearly breathless once you've reached the conclusion.

Cinematography and setting blend easily into the background of these character's actions. New York City is brought to live, as she has countless times before, as the epicenter and culmination of the good and the bad. But what sets the screen apart from any other NYC-set film is the fact that nothing seems to be done to make NYC any more like NYC. The film's version of the city is exactly how it is in real life.

Susan Sarandon, still as beautiful as ever, steals her scenes as Miller's powerful wife. As does Brit Marling and especially Nate Parker, newcomers full of promise. The sole weak spot is, surprisingly, the performance of Tim Roth, the detective. His character starts the film with a Brooklyn-type accent. In his second scene Roth seems to attain his native Cockney accent, then lose it as the film progresses. He ends with a bizarre jumble of both.

"Arbitrage" is an intelligent, engaging thriller about the depths of bad decisions made from the arrogance of power. It is a must-see of the 2012 film season.

This is the astonishingly assured and mature debut feature of 25- year-old Nicholas Jarecki. At the other end of a career, it stars Richard Gere, who provides his best acting work since Chicago over a decade ago. Arbitrage has been out in the US for months; it's raking in money wherever it goes, and it's finally getting a chance to do the same here in the UK.

Gere plays Robert Miller, a man who's gathered too much money and too many responsibilities. After fleeing the scene of an accident, Miller finds himself hunted by detectives as he tries to push through a business deal to secure his family's future. Sub-plots and intrigue abound: Brooke (the luminous Brit Marling), Robert's daughter, is investigating the dubious company accounts; Ellen Miller (Susan Sarandon) is waiting patiently to make her move against her husband. And humble Jimmy Grant (Nate Parker) is stuck in the middle - or perhaps at the bottom - of it all, an accessory to the imperious immorality of the wealthy. "He's not like us," Robert says at one point, which is exactly why he trusts him.

In terms of style and tone, and as a soul-scouring character study, the film resembles recent fare like Michael Clayton and The Ides of March, albeit with a pinch more noir. One can imagine George Clooney as Miller, though it's doubtful he would do a better job than Gere, whose portrayal of monumental stress is nuanced and compelling. Miller is a rich man in need of an eye-opener like Nicholas Van Orton (Michael Douglas) in David Fincher's The Game. Yes, there is a certain familiarity about Arbitrage, but it holds its own against those other fine films.

For those who like their thrillers talky and morally complex, and are content to empathise with their protagonist without necessarily sympathising with them, this is thought-provoking entertainment.

This is perhaps Gere's best performance and his surrounding cast performed superbly. However, there are some serious problem with the story that constantly distracted me from engaging with the actors. 1. Falling asleep while driving is not a criminal offense. A DA would have to prove gross negligence or intent to get an indictment. Therefore, the charges hanging over his head were implausible. 2. The accident occurred long after they had driven out of the city. NYPD would not have jurisdiction over the investigation. 3. Even if Gere's character had committed an intentional homicide, the guy he called to pick him up would be under no threat of criminal indictment unless he knowingly aided a criminal. He had no knowledge of the accident at all until approached by the police. Overall, the cast and suspense made up for the script weakness. I just wish the writer had consulted with someone in criminal law. They could have really helped create a suspenseful dilemma.

Hedge fund manipulator and billionaire Robert Miller (Richard Gere) leaves the scene of an accident so as not to be implicated because he was with Julie, his mistress (Laetitia Casta), who dies, and also because he is involved with a huge merger that would cost many jobs, and change lives if the merger doesn't go thru. Miller initiates a cover-up that has him twisting in the wind the rest of the way.

The accident mentioned above caught me by surprise and I jumped to get out of the way, but this is where the story really starts. We understand his reasons for the cover-up and hope for the best. Gere has that likable way about him regardless of what he is trying to hide. Detective Breyer (Tim Roth) plays a somewhat very good Columbo role nipping here and there. The scene in the park with daughter- and his CFO - Brooke (Brit Marling) explains the background for the merger and that is crucial to the story. Here you will understand the meaning of the word Arbitrage (or you could look it up in Webster's).

Except for the accident, the rest of the movie has a made-for-TV feel, but the acting performances of the supporting cast are so good you don't mind and you are fully engaged to find out what will happen next. Susan Sarandon, as Miller's wife, gives a performance that could derail everything. Jimmy (Nate Parker) the son of Miller's one-time chauffeur is the key ingredient to the mystery Detective Bryer is trying to solve. And, Stuart Margolin (from the Rockford Files TV show back in the day) does a credible job as a lawyer for Miller. (7/10)

An Oscar nomination for Richard Gere? Hmmmm………………..possible.

Violence: Yes. Sex: No. Nudity: No. Language: Yes, throughout

A very slick, well directed and acted movie. It really paints a nasty picture of the NYC investment banking/hedge fund and socialite scene. Gere is excellent as the slimy rich wanker with zero conscience. The support actors are all solid. Roth is superb as the gritty cop and Parker does the conflicted token patsy very well

A really good watch with a few good twists.

Arbitrage is the first motion picture by New York University graduate Nicolas Jarecki. It tells a story of magnate who almost fails in selling his own trading empire. But before that, he rules a huge family consisting of wife (Susan Sarandon), a son - who seems to be very unimportant person, so that director tells almost nothing about him and a daughter Brooke - skillful professional in business and probably the only person who's able to catch up with father's "mistakes". Robert also deals with young, passionate lover Julie.

But everything goes wrong when Julie dies in car accident when Robert was driving and Brooke finds his father in fraudulence.

Now Robert Miller has to struggle against two people: detective Michael Bryer (Tim Roth) and his own daughter and none of them is going to step back.

I am not going to tell how well Gere's character manages this but I can definitely tell you that Richard, as an actor, did a great job. Possibly it's the best performance of his career. Anyone can name his memorable roles but this one is no doubt the best. He delivers an emotional, stressed and very precise acting and looks very natural which makes his work really brilliant.

But the best part of this movie is Nicolas Jarecki. It's not easy to write and direct the film at the same time, especially when it is your first time. He wrote a beautifully crafted script and transferred it professionally on the screen. The more you watch bigger the tension gets and you want to know whether it will end up in a good way. The writer has intelligently stuck surprising details throughout the story and that made whole movie more dynamic.

So, I found Arbitrage to be an attractive, smart and well produced movie and believe that it could be a perfect star for Nicolas's directing or writing career.

I have just finished watching Arbitrage, and I loved it, enjoyed everything of it, especially old-favorite Richard Gere as Robert, the millionaire who got into trouble and struggles to get out of it.

With Gere, Susan Sarandon and Tim Roth do a fantastic work, Sarandon as the intriguing wife and Tim Roth as the detective who goes a bit too far in his pursue of Robert.

The pace is fast and thrilling and the plot engaging, making audiences to root for Robert while we all know that he has done wrong in several fronts.

That's in part because of the likable star power of Gere who shines in this drama thriller worth of your time.

A lot of people really like this movie, and it's not hard to see why. Sure, the script may leave a bit to be desired, and the pacing may be draggy towards the end, but Arbitrage still manages to be a keen thriller, and a smart character study with great performances. Equally charming and intense, Richard Gere has never been better than he is here, partly due to how strong his character is. For a man of such "moral obligations", Robert Miller's actions imply a contradictory lack of ethics. Gere knows exactly what the role requires of him, and does it in such a fascinating and occasionally unpredictable way. Tension gets even higher with how the people in his life react to him, played by an excellent cast including Tim Roth, Brit Marling, and Susan Sarandon. I'd love to watch this one again.

**** / *****

This is a glitzy tale of Robert Miller (Gere) one of the "biggest swinging d****" on Wall Street. Though in late middle age he still has the obligatory mistress, beautiful family and an investment fund that he is trying to sell to another "bsd." The plot seems so pedestrian that I was just about to walk out when the plot took a slight change of direction. To tell you more would ruin it for anyone intending to see this flick, but even though I decided to tough it out, I cannot honestly recommend seeing this in the theater. It can easily be put off until cable or the video store gets it. Gere as usual is great. Sarandon is nothing special in a very pedestrian role. Brit Marling seems above average as Gere's daughter and co-worker and Stuart Margolin who I have not seen since The Rockford Files is very good as Gere's attorney. If you would like to see another movie about how the other half live and why they don't deserve it, this is your opportunity.

This film is recommended.

Never has there been a more reprehensible or despised person as the American businessperson. The lust for wealth and power have brought this once revered executive type to the forefront, edging out deranged serial killers, religious zealots, and evil Nazis as the single most hated villains of recent years. After decades of pillaging and destroying many lives for personal gains, the financier has earned his/her ranking in the upper echelons of the business world while systematically downgrading that image to the soon-to-be-disappearing middle class sub-servants. Which brings us to the central character in the absorbing new thriller, Arbitrage.

The suave and dashing Richard Gere plays the generic sounding character, Robert Miller, a suave and dashing billionaire who wheels and deals with the worst of them. ( It seems in today's market, no ones a millionaire anymore, that's small change. ) Insulated from any question of impropriety or wrongdoing, Robert covers up his criminal behavior built on Ponzi schemes and illegal trading with his well-tailored suits, his luxurious lifestyle, and a smile that hides that inner sneer of superiority and smugness. He lies to his loving daughter ( Brit Marling ), who works aside him in his company, cheats on his wife ( Susan Sarandon ), who turns her back on his scandalous acts in order to savor the beautiful life, and of course, has a demanding mistress on the side ( Laetitia Casta ), who always wants more. His life is always one step ahead of everyone else, but he seems to thrive on that negative energy. That is until...

To say anything further could spoil the enjoyment of this well-paced mystery, except to say that amid complications that arise in Robert's life, there are nice turns by Nate Parker as Robert's friend and the underrated actor Tim Roth as Det. Michael Bryer, an inquiring Columbo type of character who begins to grow suspicious of Robert and his many shady activities.

Newcomer Nicholas Jarecki has written and directed the film with confidence and style. He has assembled a strong cast and has written such a fully realized egocentric character, one in which Gere can use all his charm and star power to create an even more compelling and somewhat likable cad. This is one of his finest roles in years. However Jarecki's other characters have less to do in the film, other than react indirectly, until their major scene arrives and they can go off full throttle, which the actors do well.

Arbitrage covers familiar ground and goes after easy targets of greed and corruption that would normally incense any law-abiding person, but the film wisely capitalizes on its talented cast to pay out a high dividend by earning the moviegoers' interest with all of the unscrupulous activity emanating from those glass towers overlooking the unsuspecting passersby below. GRADE: B

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