Wall Street REMASTERED (1987) 720p YIFY Movie

Wall Street REMASTERED (1987)

A young and impatient stockbroker is willing to do anything to get to the top, including trading on illegal inside information taken through a ruthless and greedy corporate raider who takes the youth under his wing.

IMDB: 7.48 Likes

  • Genre: Crime | Drama
  • Quality: 720p
  • Size: 851.22M
  • Resolution: 1280*688 / 23.976fps
  • Language: English
  • Run Time: 126
  • IMDB Rating: 7.4/10 
  • MPR:
  • Peers/Seeds: 4 / 51

The Synopsis for Wall Street REMASTERED (1987) 720p

Bud Fox is a Wall Street stockbroker in early 1980's New York with a strong desire to get to the top. Working for his firm during the day, he spends his spare time working an on angle with the high-powered, extremely successful (but ruthless and greedy) broker Gordon Gekko. Fox finally meets with Gekko, who takes the youth under his wing and explains his philosophy that "Greed is Good". Taking the advice and working closely with Gekko, Fox soon finds himself swept into a world of "yuppies", shady business deals, the "good life", fast money, and fast women; something which is at odds with his family including his estranged father and the blue-collared way Fox was brought up.


The Director and Players for Wall Street REMASTERED (1987) 720p

[Director]Oliver Stone
[Role:Dan]Franklin Cover
[Role:Carolyn]Tamara Tunie
[Role:Bud Fox]Charlie Sheen
[Role:Gordon Gekko]Michael Douglas


The Reviews for Wall Street REMASTERED (1987) 720p


Oliver Stone, Film maker.Reviewed byMiyagis_Sweaty_wifebeater ([email protected])Vote: 9/10

Wall Street (1987) is one of the films that defines the 80's American Lifestyle. A dog eat dog society fueled by greed, materialistic possessions, excess and drugs. People preying on others, a world of unscrupulous inside trading and the rise of yuppies. Oliver Stone is one of those film makers who knew the 80's inside out. People say John Hughes defined the 80's but Mr. Stone showed it's true side and it was ugly. The film follows a low level day trader (Charlie Sheen) who strives to become a very powerful figure on Wall Street like his idol Gordon Geckko (Michael Douglas). To justify his rise to power, he uses his father (Martin Sheen) knowledge of the flight industry for his own personnel gains. He wants to get his foot into the door of the oily Geckko. Will he sell his soul for a quick buck? How far and fast will this rising star soar? To find these answers check out Wall Street. This film was made immediately after Platoon. Stone made it clear that he wasn't going to let an Oscar winning malaise effect him. He explores the two fathers theme that he used in Platton and once again makes it work. A highly underrated film that has sadly been neglected by the mainstream audience. What makes it even sadder is the fact that it still applies today. Highly recommended.

Oh That Wild and Crazy 1980s Yuppie Culture.Reviewed bytfrizzellVote: 5/10

Deceptively deep and complex picture from co-writer/director Oliver Stone paints a vivid portrait of 1980s over-excesses as the age of "Me, Me, Me" (otherwise known as the 1980s) is explored through the eyes of a young, eager and impatient stockbroker (Charlie Sheen) who moonlights as a liaison to a heartless, ruthless and crazily greedy mega-millionaire (Michael Douglas in a smashing Oscar-winning turn) who seemingly has his hands on most every aspect of big business. Naturally dilemmas occur in every direction for Sheen as the lifestyle he wants comes at a very heavy price (both literally and figuratively). A strained relationship with his father (real-life dad Martin Sheen) and a whirlwind fling with the superficial Daryl Hannah just leads to more and more cinematic fireworks. "Wall Street" is really the only film I can think of to deal seriously with its subject matter. Everyone of the age remembers the yuppie phase this nation had in the mid-1980s. Young urban professionals did their best to make as much as they could as fast as possible (sometimes through crooked and illegal means). The idea of retiring at 40 seemed like a good notion, but those same people with those thoughts are still working today (they never made their millions or they made their money and ended up going into a lifetime of debt because they spent their earnings quicker than they could make it). Ultimately the 1980s was good while it lasted, but good like that never lasts forever and that becomes painfully clear as Sheen's character becomes a warning to all those who think they can out-think and manipulate a strained economic system. Douglas is a complete revelation. I mean there is no doubt that he is an excellent performer, but his portrayal of a money- and power-mad player in New York is truly one of those instances of classic career work being achieved. Super-slick, wickedly intelligent and definitely a thinking person's movie, "Wall Street" continues to strike a chord when looking back at a very unique time of American economic history. 4.5 out of 5 stars.

This is Douglas's movie until the Sheens take it over.Reviewed bySilasssVote: 5/10

First of all, it's amazing now to see how young, baby-faced and gauche Charlie Sheen looks from this distance in time, particularly when he's trying to hit on Daryl Hannah. In today's dumbed down movie world, Gordon Gekko could have been scripted and played exactly the same except for one thing: you'd never see the scene when he suddenly stops to admire the ocean at dawn. Fortunately Michael Douglas clearly added his own dimensions to the character whom, if left to Stone, would have been a cardboard money-grabber. As far as Stone is concerned Gekko wants money for its own sake, but Michael Douglas manages to evince a man who revels in the power and influence that money gets him. Stone's dialogue actually undercuts this perception on occasion, as when Bud Fox yells at Gekko, "How many yachts can you sail!?", and when Gekko, enticing Fox by outlining how rich he could be, says, "Rich enough to have your own jet" - as if owning a jet wasn't the minimum accoutrement you'd expect from the least successful company director or minor pop star. Other infelicities in the script include the moment when Stone wanted to signal that Bud Fox has reached the peak of success and found it empty: following the montage of the condo purchase and decoration, the perfect meal for two, culminating in making love to Daryl Hannah, Stone has Fox standing on his balcony, and apropos of nothing at all, he just says, "Who am I?" It has to be said that Sheen wasn't really up to the task of delivering this atrocious line. I've rarely seen a film in which the female lead was so comprehensively abandoned by the director. Stone clearly wanted to focus all his attention on Sheen and crucially on Douglas, leaving Hannah floundering and unable to clearly express just how much into Bud Fox her character is at any one time. At the final break-up you almost hear Stone's sigh of relief at being able to get rid of the irrelevant female (probably forced on him by the studio) and concentrate on the man's world of stockbroking. I seem to be finding a lot of flaws in what is basically a most compelling and watchable film. Despite the complex jargon-riddled technicalities of the subject matter, the movie's plot grabs hold of the viewer from the first scene and never lets go. Of course Douglas dominates most of the movie, until Fox sr. (Sheen sr.) throws the spanner in the works of his son's airline deal. Thank heavens Charlie Sheen took the unbelievably courageous decision to have his own father (instead of Jack Lemmon) play his character's father because the two of them perform an absolute barnstormer of a scene in which every word, inflexion and facial expression is repleat with absolute truth; and it's all the more poignant considering Charlie Sheen's own personal difficulties which faced him in later years, and the well-publicised ups and downs of his relationship with Martin as a result. Had those troubled times preceded this movie, it's hard to imagine the performances could have been any different - that's how good they are. Fantastic character support comes from Hal Holbrook, the always reliable Saul Rubinek and John C. McGinley (who does not seem to have changed at all in the intervening years!), a young James Spader and the magisterial Terence Stamp who understands the unutterable menace with which it is possible to lace the single word "Mate".

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