WHERE THE MONEY IS
Carol (Linda Fiorentino) was once the prom queen. Now she's a nurse in a small Oregon town, married to her high school sweetheart, Wayne (Dermot Mulroney). One day a new resident arrives - by prison van - at the nursing home where Carol works. He's Henry (Paul Newman), a notorious bank robber who's apparently suffered a stroke. But Carol thinks there may be something more going on behind Henry's blank gaze.
"A single idea well executed, Where The Money Is charms by its original twists and delights by its delectable execution. With the emphasis on character, the script is tight and never wavers from its focus. Never mind how unlikely the premise. The important thing is that we go along with it. And go along with it we do; it's an entertaining piece of escapism and the lead performances by Paul Newman and Linda Fiorentino simply sizzle. Newman is as cool as a cucumber and there's a big twinkle in his steel blue eyes. We get the impression that he never takes himself too seriously, and we are let in on the gag. It's a measured performance from a seasoned superstar who knows all the tricks. Husky voiced Fiorentino gives him a run for his money and the two of them make caper cream together. She goes from nursing the brain dead to milking the money, while his transition from the land of One Flew Over the Cuckoo's Nest to suave man about town and seasoned hustler is as big as it gets. The logic is ridiculous, but the heart is true and if you don't like the team you're on, change teams. Dermot Mulroney does a great job adding a different dimension; this is a black comedy that is played totally for real. There's plenty of suspense, plenty of laughs and the lines fly wild. Mark Isham's lively score keeps the toes tapping; it's a hoot from start to finish."
"That often underrated sub-genre, the heist movie, gets a reworking in this slick production directed by Marek Kanievska (best known for Another Country and Less Than Zero). At the outset, it should be stated that the basic premise of the movie is pure bunkum; but like many other crime films, that needn't diminish your enjoyment of it. Kanievska keeps the pace brisk and the mood light as this quite implausible tale of an aging bank robber and his young apprentice unfolds. It looks great, thanks to DOP Thomas Burstyn and some pretty (Canadian) scenery, and Mark Isham's cheerful music score keeps up with the action. Without wishing to give too much away, it was extremely refreshing to see an American crime movie in which no one actually gets shot. Notwithstanding any of its other qualities, the main reason to see Where The Money Is is the performance of Paul Newman. As Henry, he shows the old charm hasn't left him. What's remarkable is his ability to set a mood with merely a glance or a gesture - a task that would leave most actors struggling. While the base material isn't up there with his great movies, this is yet more evidence (if it was needed) of his terrific range and the fact that age hasn't daunted him. Linda Fiorentino is also wonderful as Carol. She vamps it up just enough to make her interesting, but not so much that she becomes a stereotype. Dermot Mulroney unfortunately is sidelined for much of the film and gets little opportunity to shine. Although Where The Money Is falls well short of being a crime classic, it's an amiable diversion; one made all the more palatable by its seemingly ageless star."
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WHERE THE MONEY IS (PG)
CAST: Paul Newman, Linda Fiorentino, Dermot Mulroney, Susan Barnes
DIRECTOR: Marek Kanievska
PRODUCER: Ridley Scott, Charles Weinstock, Chris Zarpas
SCRIPT: E. Max Frye (story and screenplay), Topper Lilien, Carroll Cartwright
CINEMATOGRAPHER: Thomas Burstyn
EDITOR: Garth Craven, Samuel Craven, Dan Lebental
MUSIC: Mark Isham
PRODUCTION DESIGN: André Chamberland
RUNNING TIME: 88 minutes
AUSTRALIAN DISTRIBUTOR: Roadshow
AUSTRALIAN RELEASE: February 8, 2001
RIVERSIDE SNEAK PEEK PREMIERES
A program of premiere screenings of new movies prior to their commercial release
on 4 consecutive Tuesdays in February, following a FREE introductory screening on February 17, 2015 at Riverside Theatre,
Curated & presented by Andrew L. Urban, discussion to
follow with special guests. Briefing notes provided.