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For Love or Money

For Love or Money

Comedy · Romance · 1993

New York concierge Doug Ireland wants to go into business for himself and refurbish a hotel on Roosevelt Island, N.Y., but he needs an investor. With a few weeks left before his option on the site runs out, Doug agrees to help wealthy Christian Hanover conceal his affair with salesgirl Andy Hart from his wife. Despite his own attraction to Andy, Doug tries to stay focused on getting Christian to invest $3 million in his project.

Movie details

For Love or Money

“He thought there was nothing as seductive as money. He was wrong.”

1993 Comedy · Romance 1h 34m

Critical arithmetic

One number, for now.

TMDB

6.2 / 10

Community rating

New York concierge Doug Ireland wants to go into business for himself and refurbish a hotel on Roosevelt Island, N.Y., but he needs an investor. With a few weeks left before his option on the site runs out, Doug agrees to help wealthy Christian Hanover conceal his affair with salesgirl Andy Hart from his wife. Despite his own attraction to Andy, Doug tries to stay focused on getting Christian to invest $3 million in his project.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over For Love or Money?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Barry Sonnenfeld

Written by

Mark Rosenthal · Lawrence Konner

Michael J. Fox

Michael J. Fox

Doug Ireland

Gabrielle Anwar

Gabrielle Anwar

Andy Hart

Anthony Higgins

Anthony Higgins

Christian Hanover

Fyvush Finkel

Fyvush Finkel

Milton Glickman

Sandra Reaves-Phillips

Sandra Reaves-Phillips

Marie

LaChanze

LaChanze

Nora

Mike Moyer

Mike Moyer

Charlie the Doorman

Court is in session

Put For Love or Money on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.