4.5/10
54
5 user

Love or Money (1990)

PG-13 | | Comedy | 5 January 1990 (USA)
Two young owners of a firm are about to make an important contract with a big company which will help them save their business from ruin. But they get scruples when they have to decide ... See full summary »

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(original screenplay), (original screenplay) (as Elyse England) | 1 more credit »
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Cast

Cast overview, first billed only:
...
Chris Murdoch (as Timothy Daly)
Michael Garin ...
Jeff Simon
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Jennifer Reed
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William Reed
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Lu Ann Reed
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Arthur Reed
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Hank Peterson
Tisha Roth ...
James Patrick Gillis ...
Dave Bradley
Katherine Cortez ...
Laura Baskin
Tom Signorelli ...
DeMartino
Rex Robbins ...
Al McDonough
...
Dudley
...
Clark
Ann Yen ...
Mollie
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Storyline

Two young owners of a firm are about to make an important contract with a big company which will help them save their business from ruin. But they get scruples when they have to decide between love and money. Written by Volker Boehm

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Genres:

Comedy

Certificate:

PG-13 | See all certifications »
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Release Date:

5 January 1990 (USA)  »

Also Known As:

For Love or Money  »

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Did You Know?

Connections

References Poltergeist (1982) See more »

Soundtracks

Only In America
Written by Barry Mann and Cynthia Weil
Courtesy of Screen Gems/EMI Music
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User Reviews

 
At Best, Only Mildly Engaging, With Humorous Moments Overwhelmed By An Abundance Of Triteness.
31 October 2010 | by (Mountain Mesa, California) – See all my reviews

This not unexpectedly little-known film is fabricated in quite the wrong way, with efforts by its co-leads to make something special of its flabby script being murdered by tepid direction, bringing a result that its occasional bright moments are halted soon after they appear, an especial shame as its romantically connected co-principals are fundamentally quite highly skilled players. Chris Murdoch (Timothy Daly) and his business partner Jeff Simon (Michael Garin), having left successful employment with a commercial real estate firm in order to found their own company, are soon financially stiffened, and nearing bankruptcy. When an opportunity arises for them to bid for the construction of a new facility for housing a large corporation, Reed and Reed, they enthusiastically prepare a contract proposal, and the corporation's C.E.O., William Reed (Kevin McCarthy), offers them encouragement; however, their status becomes muddled after Chris falls in love with Jennifer (Haviland Morris), who happens to be William's daughter, upon whom he dotes. Additionally, William's brother Arthur (David Doyle), the other of the two corporate titular Reeds, is identifying reasons to offer the pending lucrative contract to more seasoned individuals who are representing Chris and Jeff's former employer. A possible ray of hope for the young partners is enjoyed when Chris and Jennifer become lovers. Unfortunately, Jennifer, who works at a nearby Long Island marine research center, is soon disenchanted with Chris after he outlines his plan to construct condominiums near the site of the research center. During this same period that Chris and Jennifer are frolicking, Jeff has begun an affair with LuAnn (Shelley Fabares), William Reed's wife, highly inconvenient as this liaison of the loins is known to Arthur and also to the principal competitors who are vying with Chris and Jeff for the sought-after contract. Further, the young entrepreneurs may have their chance of prosperity stopped by all of these romantic shenanigans, and their very existence reduced to a state of penury. In quaint fashion, the scenario has the entire imbroglio being clarified by a tennis match between the Reeds held at their private club! Essentially a romantic melodrama, the film's foremost acting contributions are turned in by Daly and Morris, who diligently work at creating their roles; as well as from veterans McCarthy and Fabares, who do their best with feebly written dialogue. Clichés abound, and the soundtrack's selected musical recordings are generally obtrusive, while the film's direction is by the numbers. In sum, there is precious little of merit to be seen here, although whenever the camera's eye focuses upon Daly the action becomes a bit more interesting.


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