I love this movie so much

You won't be disappointed!

So much average

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

the more i think about it, there was nothing redeeming about thismovie. i saw it 9 months ago, so my memory might have made itworse than it was, but i do know it was at least as bad as a 4 out of10. after seeing the movie, i met the director. he seemed so cluelessas to what he was doing or what he had done, and as far as icould tell, he didn't care for the film either. even he agreed that hedidn't really know what he was doing, and he was forced to docertain things because it was filmed digitally. i felt that the movie was trying to hard to fit in to the formula that itbuilt for itself: "9 people all have to be connected in some way. howcan we get from point 'A' to point 'B'" so in order get from theprostitute we see in the start and back to her at the end they 10minutes on each character's relationship to another person. itmakes one feel choked by the 2 demensional, badly drawncharacters.I just remembered the one redeeming part of the movie... SteveBouchemi there is one scene where he is amazing. that's it. as isay... 4 out of 10.

As a fan of such films as "Mulholland Drive," "Memento," and "Before the Rain," I have a predilection for films which require one to piece together clues within the plot in order to distinguish true happenings from false. Initially, "Love in the Time of Money," did not strike me as this type of film, however while driving home, the words of Carol Kane's eccentric pig-tailed telephone clairvoyant came back to me. Kane's character was suggesting that perhaps in another dimension everything is changed by something so simple as a traffic light changing color a half-second earlier. This sensibility is the essence of Mattei's film, which follows the stories of interconnected people who unknowingly affect the fate of each succeeding character. The question which the film leaves one with is: How much of this story really happened?There is a beautiful scene between Carol Kane, as an aged flamboyant clairvoyant who falls for the young urban Adonis, Adrien Grenier. Notable performances are also given by Steve Buscemi, who plays a struggling modern artist with quiet restraint, and by the gorgeous Rosario Dawson, who plays the conflicted muse of two men.

"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!