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Sadly Over-hyped

Don't Believe the Hype

Absolutely Brilliant!

I cannot think of one single thing that I would change about this film. The acting is incomparable, the directing deft, and the writing poignantly brilliant.

This film sat on my Tivo for weeks before I watched it. I dreaded a self-indulgent yuppie flick about relationships gone bad. I was wrong; this was an engrossing excursion into the screwed-up libidos of New Yorkers.The format is the same as Max Ophuls' "La Ronde," based on a play by Arthur Schnitzler, who is given an "inspired by" credit. It starts from one person, a prostitute , standing on a street corner in Brooklyn. She is picked up by a home contractor, who has sex with her on the hood of a car, but can't come. He refuses to pay her. When he's off peeing, she answers his cell phone and takes a message. She runs away with his keys.Then the story switches to the contractor, who pays a professional call on a rich, bored New York woman, who plays with him until he is aroused, then she pulls away. She tells him how desperate and unhappy she is; he tells her how beautiful she is, and lucky. As he is leaving, she asks if he would have sex with her. She sits on top of him, bounces up and down. This time he comes, the he leaves.The woman and her husband throw a dinner party for their trendy friends. Hubby (Robert) is talking business, wife (Ellen) is bored, and switches the subject to sex, and how often men and women think about it. Husband switches conversation to desert. Later, after the guests leave, Ellen tries to entice Robert into sex. Robert wants none of it, and puts on a jazz record. Ellen turns on the radio; Robert turns up the music; Ellen turns on the TV; Robert turns on another TV. Cacophony ensues. Ellen goes up on the roof, Robert joins her. Ellen confesses that she needs to experience more men, men other than Robert. Robert says that he too needs to experience men.We next follow Robert as he visits an artist, Martin, played by Steve Buscemi. I wish Buscemi could have more roles like this, where he is a sexy, smart, totally desirable guy. Robert praises Martin's work, much more than it deserves, promises to get it into a show. Martin is excited, until it turns out that Robert is speaking out of his groin, it is all a mating dance. Robert tries to kiss Martin, on the lips, and Martin pulls back, saying that he is not gay. Robert asserts that he's not gay either, Martin scoffs. Both admit that the artworks are bad. Robert is about to leave, when Martin allows Robert to kiss him. They make out, and Robert goes down on Martin.Next we follow Martin, as he prepares for an art show at a Manhattan gallery. He is smitten by the receptionist, Anna, played by Rosario Dawson. (I had to cut some of this review to keep it under 1000 words) ... and they make love to each other.We next follow Anna, who is sitting at a lunch stand. Her boyfriend, Nick (Adrian Grenier), enters, bearing flowers. She is cold toward him; he tries to figure out why. He coaxes out of her the information that she has had sex with someone while he was in San Francisco. She coaxes out of him the fact that he has stayed with his ex-gf while in San Francisco, and had sex with her. The latter revelation turns out to be a lie. The two of them make out in the luncheonette, but she decides that they must break up. Nick is heartbroken.And we follow Nick, who confesses his troubles to an older woman who he meets on a park bench, Joey (Carol Kane). Joey is sort of weird and child-like, but is a good audience for Nick, who needs a sympathetic ear. The two of them go to Coney Island at night, and look at the stars. Nick falls under Joey's spell, despite the age difference between them. They go back to Joey's apartment, and Nick gradually realizes that he is about to have sex with a crazy old woman. She is on top of him, doesn't want to let him go. But he manages to escape.(This is, by the way, the best Carol Kane role since she played Latke's wife in Taxi.) Joey's phone rings, and it is a man calling the Psychic Friends Network, and Joey is one of the psychic friends. Although she is still hurting from Nick, she gradually gets into her psychic shtick. The man is at his office, late at night, and wants to have phone sex with her. Although that is not Joey's business, Joey goes along, and coaxes the man to come. She wants to keep talking, although the man want to get off the phone, and finds out that he has embezzled a lot of money from his company, and will be found out tomorrow. His life is ruined. Joey realizes that the man is going to commit suicide, and she tries to make him believe that she is his friend, that she cares about him. And she does care about him.But the man packs a gun into his briefcase, and goes off to seek a prostitute on the Brooklyn waterfront, and we come back to the beginning, to the same prostitute who started out La Ronde. She wants to give him $75,000 in cash if she will kill him. He tried to kill himself, but couldn't do it. The prostitute does not want to do it, but he insists, holding her hand, holding the gun inside his mouth, telling her where to aim. Eventually, the gun goes off, and we see the prostitute walking down the street, and arriving at the corner where she normally does business. The contractor who didn't pay her earlier in the movie drives up, rolls down the window. They look at each other. THE END.

This movie starts slow, then tapers off. After watching for about an hour, and seeing absolutely nothing happen, I walked out. I mean, nothing happened. Zero. Zip. Nada. There is no story. The characters are vague representations of the most boring people any of us know. The producers of this film could be sued in a court of law if they try to sell it as a "motion" picture. There is no motion. I could have told the same "story" with a couple still pictures with captions. The script is a joke. It's just awful. I doubt that any script doctor in the world could save it. My biggest regret is not that I wasted 60 minutes of my life watching "Love In the Time of Money", but that I missed a great opportunity to be a leader. I could have been the first to walk out, but I waited a bit too long. Instead, I watched about 20 people walk out before me.

"Love in the Time of Money" is a deeply affecting arthouse picture, more remarkable for the incendiary performances of its cast than for its story. Although the script is quite exceptional--namely for its delectable, believably human, dialogue--the plot revolves around some rather familiar scenarios in contemporary (arthouse) cinema, such as the hardships faced by a fledgling prostitute, the deterioration of an emotionally cold marriage, and the desperation of a troubled corporate drone. It seems almost impossible not to conjure up comparisons to "Leaving Las Vegas," "Happiness," and other bleak narratives of the same ilk. Still, writer/director Peter Mattei draws upon his background in the theatre to create complex characters and elicit staggering performances from his entire cast. The visual style of the film offers additional intrigue--gorgeous close-ups and very non-traditional (yet meaningful and mood-enhancing) framing provide proof that not all features shot on digital video are obliged to be shaky, amateurish messes (or effects-reliant space epics, for that matter). A highly promising debut feature from an exciting new cinematic talent, "Love in the Time of Money" is a low-budget gem that obviously made good use of the time and money put into it, and is certainly worth yours.

I'd never been before, and I wasn't sure if I'd get tickets, but I actually got to see a lot--and this was by far the smartest and most entertaining film there. It took a while to get into it--it's not your typical boy meets girl story. In fact, the film follows how one relationship affects the next (and there are about 5 relationships or so whom we witness) and so it was hard to get into the rhythm of it immediately. But the dialogue was so fun and entertaining and every story was so real, whether it was a really dark scene or a witty one, that I eventually was picked up into the world. And, that's partly because the actors were so amazing--I'm a big Sopranos fan, and I was especially into Michael Imperoli's role (you wouldn't even recognize Christopher). I also thought that Rosario Dawson and Adrian Grenier's scene jumped off the screen (I wish Adrian had jumped off too--he's so gorgeous)--their relationship was so well done, and honest and funny. And the film was apparently shot on digital video, but I thought it was beautiful and looked like film to me!