Sober, stylized, and subtly mournful, this superior examination of the underbelly of big business came out the same year as Boiler Room but failed to receive a proper theatrical release. That's too bad, for The Prime Gig has more on its mind than simply updating the corruption-and-greed trappings of Wall Street for a new generation of moviegoers. Avoiding both the grandstanding and the black-and-white morality of those other films, Gregory Mosher's directorial debut instead excavates the fluorescent-bathed banality and self-delusion that characterize the shadier corners of the financial industry. Mosher clearly knows his material: He helmed David Mamet's similarly themed +Glengarry Glen Ross on Broadway a quarter century earlier. Nevertheless, the film captures its own brand of scuzzy glamour thanks to sharp writing from newcomer William Wheeler and the beautiful photography of veteran John A. Alonzo. Vince Vaughn gives a quietly forceful lead performance, bolstered by the pugnacious intensity of Ed Harris and the crystalline mystery of Julia Ormond. Although the fine supporting cast includes playwright Wallace Shawn and TV vets Amber Benson and George Wendt, the focus is squarely on the three leads. The femme-fatale question mark hanging over Ormond and the sexual gamesmanship between Harris and Vaughn may come straight from film noir, but their migration to the world of strip-mall office space enlivens the material in both directions.