Love in the Time of Money

This movie is best watched late at night (if you can stay awake). It is 90 minutes long where the first 85 minutes are an odd and eerie sequence of scenes that seem to transfer from one character to the next in what appear to be chronological order. Then in the last 5 minutes the movie's point unfolds, and you're left with an interesting puzzle that may make you want to see it again: was the movie forward chronological, reverse chronological, disconnected, or an endless paradox that is broken in the "end", which is were the movie began? Makes me wonder if the title is a riddle, too. The first 5 minutes is also important, if you're trying to close the loop.

"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.

Love In The Time Of Money is very representative of its era of independent films. First, it is an ensemble piece, including frequent "Indy" stars Steve Buscemi and Rosario Dawson. Second, it has an interesting artistic mechanism to advance the plot: daisy-chaining from one character to the next. Third, it's a lot of slice-of-life moments with similar themes but no particular overriding plot. Fourth, there is a lot of intense inner-city camera work, and diverse camera angles to juxtapose, art, scenery, and faces. Five, the performances of the members of the ensemble run the gamut of tired (Malcolm Gets) to sublime (Carol Kane) and mostly solid with an emphasis on quirkiness in between.

So, with all the other bases covered, I read other IMDb reviews to make sure that it has the most important characteristic to be representative of today's independent films. Its supporters wax enthusiastically about how different its perspectives are from "your typical Hollywood films." At the end of the day, the film is blessedly short by such standards (87 minutes), and certainly watchable, so if you are looking to pass time, you could do worse -- but you could do better. For me, this defines mediocre. One notable exception: if you love Carol Kane who appears in the second half of the film with characters Nick and Will, take the time to see her magnificent performance -- easily the best in the film.

A good indie flick that I stumbled on late night the other day. I love indie flicks set in NYC like most Woody Allen flicks and films like Rodger Dodger, Tadpole, an indie flick with Adrien Brody which I can't recall the name but is an overlooked gem, etc. The ensemble cast is very good and the director connects the stories very well. I liked the stories with contractor and the hooker, Steve Buscemi was good as usual, and the scene with Michael Imperioli at the end with the hooker was very well acted. Also, the banter between Buscemi and the gorgeous Rosario Dawson was well written. I just wish they showed her naked as she looks like she got a nice body. Also, look for a pre Entourage Adrien Brenier who has a decent role. I thought he was very good in the overlooked indie "The Adventures of Sebastian Cole" also.

LOVE IN THE TIME OF MONEY isn't exactly a great movie. After all it has a score of 5,3 and only 17 reviews with the last for it written in 2019 after a hiatus of 14 years. And being personally a guy that can swallow anything and that can find the good in maligned things, I gave it a try and ended up liking it... now don't assume I loved it.

The movie is essentially split in stories about some New Yorkers in search for true love, and they are: a woman that makes awkward moves to the man that has to renovate her loft, artist Martin Kunkle (Steve Buscemi) that has a dead time in his career until he falls for Anna (Rosario Dawson) and have some sort of one-night stand, embezzler Greta and phone psychic Ellen.

Most of the stories were ok and I liked the acting and the style of the movie. Yes, there are some dead moments as well but these aren't enough reason for hating the movie so much. As another reviewer noted, a bit reminiscent of CLOSER (even tho CLOSER was made two years after this) and just an entertaining movie all around.