Madoff

Dreyfuss is sensational as Madoff, a twinkle in his eye as he explains his "magic."

Richard Dreyfuss' [portrayal of Bernie] makes no excuses for the con artist whose decades-long fraud cost his marks billions. It does humanize his family, which knew sadness even before Madoff's big reveal, and features a strong performance by Peter Scolari as Bernie's brother Peter.

Dreyfuss somehow refrains from chewing the scenery, though the script at times would have him leaving only flecks of drywall. Scolari has heartbreaking moments as he flounders with guilt. More focus on the personalities of Ruth and Mark, who killed himself on the second anniversary of his father’s arrest, would have fleshed out this story.

It’s a chilling look at the rise and fall of a man whose greed knew no limits and unleashed a tide of misery.

Dreyfuss play [Madoff] to the hilt. It’s a juicy part for an aging actor who’s likewise fortunate to have the always good Danner along for the ride. Together they make Madoff a watchable yet curious undertaking.

As long as the film sticks to the scheme, it works as well. It’s less successful when it digs into Madoff’s personal life, or when it begins to search for broader meaning, particularly in a heavy-handed comparison between Madoff and the investment banks that caused the subprime mortgage crisis.

In attempting to crawl inside the head of Mr. Madoff--given just a touch of ghoulishness by Mr. Dreyfuss--it provides solidly sordid entertainment. But it also elevates its subject into an object of sympathy.

Madoff takes the easy route, but what it lacks in complexity, it makes up for in a pace that keeps Madoff’s dealings moving at a clip. And while it still won’t explain the inner workings of why we should be enraged by Bernie Madoff’s actions, it still evokes that rage.

Two nights implies this will be “epic,” but this is the anti-epic miniseries, where the subject gets smaller and smaller while his crimes get larger and larger. It’s instructional--just not emotionally engaging.