Movies about high finance always run the risk of boring the audience with more arcane detail than any lay person can absorb in two hours of screen time. The Bank dispenses with trying to educate, favoring atmosphere and psychology over numbers and theories. Artfully animated parabolas under the opening credits suggest that the theories of Jim Doyle (David Wenham) about predicting the money market will be one part Leonardo DaVinci (Doyle likes to draw and doodle on tablecloths) and one part John Nash. As Simon O'Reily, Doyle's employer and sometime nemesis, Anthony LaPaglia gets to recycle a lot of Michael Douglas' Oscar-winning moves and locutions from Wall Street. He's the ultimate corporate shark, puffing on a stogie, bragging about having his foot on the back of Jim's neck as a great motivational tool, and trusting no one. Wenham can't keep up with LaPaglia and doesn't try; anyway, the film seems to be less about rooting for Jim than rooting against Simon. The twin subplots of a couple frustrated by the bank's indifference to their financial and personal losses and a comely fellow employee romancing Jim are good red herrings, though the film's final twist isn't too hard to predict.