MONEY TALKS
A Film Review by James Berardinelli
RATING (0 TO 10): 5.0 Alternative Scale: ** out of ****
United States, 1997 U.S. Release Date: 8/22/97 (wide) Running Length: 1:35 MPAA Classification: R (Profanity, mature themes) Theatrical Aspect Ratio: 2.35:1
Cast: Chris Tucker, Charlie Sheen, Paul Sorvino, Heather Locklear, Gerard Ismael, Elise Neal, David Warner Director: Brett Ratner Producer: Walter Coblenz Screenplay: Joel Coen and Alec Sokolow Cinematography: Russell Carpenter, Robert Primes Music: Lalo Schifrin U.S. Distributor: New Line Cinema
It's getting so that it's hard to see a movie without being distracted by some star or another's off-screen antics. Now, just in time for the release of his latest picture, Charlie Sheen has joined a list that includes names such as Martin Lawrence, Robert Downey Jr., and Christian Slater. Of course, Sheen has never been a poster boy for clean living, having allegedly been one of many names in Heidi Fleiss' black book, but his latest leap to tabloid prominence (supposed girlfriend abuse) has arrived just in time to coincide with the opening of MONEY TALKS.
All things considered, however, it probably doesn't matter much, since Sheen's screen presence in this film is virtually nonexistent. This is a classic "pick up the paycheck and run" performance from someone who doesn't seem to be enjoying himself or the role he's playing. As a result, Sheen's co-star, stand up comic Chris Tucker (last seen prancing around a space station in THE FIFTH ELEMENT) steals nearly every scene. In fact, Tucker's in-your-face outrageousness is so pronounced that it's easy to forget that Sheen is even in the movie.
MONEY TALKS is billed as an "action comedy", and I suppose that's what it is. The problem is, while some of the comedy is inventive, and, at times, downright hilarious, there's nothing remotely interesting about the film's generic fight, chase, and explosion scenes. The thin plotline that binds all of MONEY TALKS' elements into one cohesive whole is a little too hard to swallow, even for a movie that makes no pretense of being remotely serious or grounded in reality.
That plot has small-time hustler and con artist, Franklin Hatchett (Tucker), going to prison after being set up by ace TV reporter James Russell (Sheen) in a ticket scalping scam. On the way to the pen, Franklin inadvertently becomes involved in a jail break orchestrated by the evil Villard (Gerard Ismael) and his personal army. One problem: the cops think Franklin is behind the whole scheme. Not knowing whom to turn to, Franklin gives James a call. The two make a deal: James will hide and protect Franklin for a weekend in exchange for an exclusive when Franklin turns himself in. There are a few complications, however. First, Villard wants Franklin dead. Second, James has just been fired from his TV job after being described by his boss (David Warner) as "another walking headshot" from the "John Tesh school of journalism." Third, this weekend, James is scheduled to marry Grace (Heather Locklear), the beautiful daughter of the very wealthy Guy Cipriani (Paul Sorvino).
It's not hard to determine the source of MONEY TALKS' inspiration. This film is a virtual regurgitation of 48 HOURS, with Tucker doing his best to out-Eddie Murphy that film's star. Unfortunately, given MONEY TALKS' weak, derivative script, uninspired direction, and bland performance by Sheen, this movie has more in common with 48 HOURS' horrid sequel than with the original. Take out MONEY TALKS' three funny scenes (the best of which takes place during a car auction), and there's not much left.
For a while, I thought MONEY TALKS was going to be a great deal more clever than it turned out to be. At the outset, it looks like it might be shaping up as a biting satire of action films, but, as the reels unspool, it becomes obvious that first-time director Brett Ratner is more intent upon joining the ranks of the genre than spoofing it. There are two long car chases in this film -- both are routine and neither shows more than a hint of parody.
At least Chris Tucker is enjoyable. His performance may be a re- harsh of Murphy's, but he keeps MONEY TALKS somewhat watchable. If only the same degree of brashness and energy had been evident in other aspects of the production. By playing the action sequences largely straight, MONEY TALKS uses a safe approach. Unfortunately, in this case, "safe" equates to "dull." We've seen it all before, and this time, about the most excited reaction it's likely to provoke is a yawn.
Copyright 1997 James Berardinelli
- James Berardinelli e-mail: berardin@mail.cybernex.net ReelViews web site: http://www.cybernex.net/~berardin
"A film is a petrified fountain of thought." - Jean Cocteau
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