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Directed by | |||
| Callie Khouri | |||
Writing credits(WGA) | ||
| Glenn Gers | (screenplay) | |
| John Mister | (earlier screenplay) | |
| Neil McKay | (screenplay "Hot Money") and | |
| Terry Winsor | (screenplay "Hot Money") | |
Produced by | |||
| James Acheson | .... | producer | |
| Jay Cohen | .... | producer | |
| Boaz Davidson | .... | executive producer | |
| Frank DeMartini | .... | producer | |
| Danny Dimbort | .... | executive producer | |
| Michael P. Flannigan | .... | producer (as Michael Flannigan) | |
| Robert O. Green | .... | executive producer (as Robert Green) | |
| Wendy Kram | .... | executive producer | |
| Avi Lerner | .... | executive producer | |
| Trevor Short | .... | executive producer | |
Original Music by | |||
| Martin Davich | |||
| James Newton Howard | |||
Cinematography by | |||
| John Bailey | (director of photography) | ||
Film Editing by | |||
| Wendy Greene Bricmont | |||
Casting by | |||
| Junie Lowry-Johnson | |||
Production Design by | |||
| Brent Thomas | |||
Art Direction by | |||
| Kevin Hardison | |||
Set Decoration by | |||
| Vera Mills | |||
Costume Design by | |||
| Susie DeSanto | |||
Makeup Department | |||
| Kimberly Amacker | .... | additional makeup artist | |
| Fríða Aradóttir | .... | hair stylist: Ms. Keaton (as Frida Aradottir) | |
| Julie Baker | .... | hair stylist: Ms. Latifah | |
| Nanci Cascio | .... | additional hair stylist (as Nancy Cascio) | |
| LaToya Henderson | .... | makeup artist (as LaToya Green) | |
| Krystal Kershaw | .... | makeup artist | |
| Julie Kristy | .... | key makeup artist | |
| Adruitha Lee | .... | hair stylist: Ms. Holmes | |
| Ebony Star Parson | .... | makeup artist | |
| Michelle Vittone | .... | makeup department head (as Michelle Vittone-McNeil) | |
| Tony Ward | .... | key hair stylist | |
| Crystal Woodford | .... | hair stylist | |
Production Management | |||
| Gina Fortunato | .... | unit production manager | |
| Jerry Gilbert | .... | post-production supervisor | |
| Joseph Lobato | .... | post-production manager | |
Second Unit Director or Assistant Director | |||
| Scott August | .... | second second assistant director | |
| Elie Cohn | .... | first assistant director: second unit | |
| Boaz Davidson | .... | second unit director | |
| Nicholas Fitzgerald | .... | second assistant director | |
| Seth Hansen | .... | additional second assistant director | |
| George Parra | .... | first assistant director | |
| Isaac Meisenheimer | .... | second unit director (uncredited) | |
Sound Department | |||
| Steve C. Aaron | .... | sound mixer | |
| Joshua Adeniji | .... | foley editor | |
| Jeremy Balko | .... | adr mixer | |
| Robert Dehn | .... | assistant sound editor | |
| Brent Findley | .... | sound effects editor | |
| Judah Getz | .... | foley mixer | |
| Scott Hinkley | .... | sound re-recording mixer | |
| Richard Kitting | .... | sound recordist | |
| Roy Machado | .... | adr mixer | |
| Chris Main | .... | boom operator | |
| Zach Michaelis | .... | foley artist | |
| Jay Nierenberg | .... | supervising sound editor | |
| Todd Niesen | .... | dialogue editor | |
| Angelo Palazzo | .... | sound effects editor | |
| Stuart Provine | .... | sound effects editor | |
| Jonathan Wales | .... | sound re-recording mixer | |
| Jared Watt | .... | utility sound | |
Special Effects by | |||
| Steve Frusher | .... | special effects technician | |
| Jack Lynch | .... | special effects coordinator | |
| Richard E. Perry | .... | special effects technician | |
| Bob Trevino | .... | special effects foreman | |
Visual Effects by | |||
| Simeon Asenov | .... | visual effects art director | |
| Dilyan Aynadzhiev | .... | visual effects systems administrator | |
| Lawles Bourque | .... | digital compositor | |
| Rachel Clement | .... | digital cleanup artist | |
| Scott Coulter | .... | visual effects producer | |
| Yasen Denev | .... | digital matte painter | |
| Konstantin Dimitrov | .... | digital compositor | |
| Denitsa Dimitrova | .... | digital compositor | |
| Stanislav Dragiev | .... | visual effects supervisor | |
| Evan Ghigliotty | .... | digital artist | |
| Lyubomir Grigorov | .... | visual effects | |
| Dragomir Kostadinov | .... | matte painter | |
| Kevin Langley | .... | digital compositor | |
| Jordan Markov | .... | visual effects editor | |
| Wolfgang Maschin | .... | digital compositor | |
| Svetoslav Mitev | .... | visual effects coordinator | |
| Nick Peshunoff | .... | visual effects coordinator | |
| Julia Petrova | .... | digital compositor | |
| Iasen Pisarov | .... | visual effects | |
| Michael Ross-Lang | .... | compositor & matchmove artist | |
| Diana Simeonova | .... | matchmove artist | |
| Raena Singh | .... | digital artist: Demiurge | |
| Boyan Stoyanov | .... | vfx td | |
| Stefan Tchakarov | .... | visual effects production supervisor | |
| David Van Woert | .... | visual effects producer | |
Stunts | |||
| Kevin Ball | .... | stunt double | |
| Kevin Beard | .... | stunt performer | |
| Lex D. Geddings | .... | assistant stunt coordinator | |
| Steven Ritzi | .... | stunt coordinator (as Steve Ritzi) | |
Casting Department | |||
| Nick Anderson | .... | casting associate | |
| Jamie Baremore | .... | casting associate | |
| Tara Duncil | .... | casting associate | |
| Tara Duncil | .... | extras casting | |
| Barbara Harris | .... | adr voice casting | |
| Brinkley A. Maginnis | .... | background casting | |
| Brinkley A. Maginnis | .... | local casting | |
Costume and Wardrobe Department | |||
| Marilyn Brum | .... | costumer | |
| Donna Chance | .... | key set costumer | |
| Deborah Hall | .... | costume supervisor | |
| Heidi Howell | .... | set costumer | |
| Jennifer Kamrath | .... | key set costumer | |
| Frances LeCompte | .... | seamstress | |
| Jane Ryder | .... | seamstress | |
Editorial Department | |||
| Samer Al-Asadi | .... | supervising on-line editor | |
| Eric Bryant | .... | on-line editor | |
| Julius Friede | .... | digital intermediate colorist | |
| David Graubard | .... | digital intermediate senior systems engineer | |
| Christopher Kroll | .... | associate editor | |
| Candice Levy | .... | post-production coordinator | |
| Dennis Little | .... | digital intermediate producer | |
| Jon Pehlke | .... | on-line editor | |
| Sarah Priestnall | .... | production supervisor: digital intermediate | |
| Lee Wimer | .... | color timer | |
Music Department | |||
| Selena Arizanovic | .... | music coordinator | |
| Marc Bonilla | .... | composer: additional music | |
| Budd Carr | .... | music supervisor | |
| Nora Felder | .... | music supervisor | |
| Timothy Huling | .... | orchestrator | |
| Michael Mason | .... | music editor | |
| Michael Mason | .... | score producer | |
| Robert Puff | .... | music preparation | |
| Bart Samolis | .... | musician | |
| Brian Sapp | .... | additional music clearances | |
| Stuart Michael Thomas | .... | composer: additional music | |
| Ashley Waldron | .... | executive in charge of music: Millennium Films (as Ashley Miller) | |
| Marc Bonilla | .... | musician: electric guitar (uncredited) | |
Transportation Department | |||
| Annette Ansley | .... | mini-van driver | |
| Joe Comeaux | .... | driver | |
| Charles Coulter | .... | generator operator/driver | |
| Sam Craytor | .... | driver: honeywagon | |
| Kenneth Crenshaw | .... | mini-van driver | |
| Randy Duplechine | .... | truck driver | |
| Greg Faucett | .... | transportation coordinator | |
| Connie Herring | .... | transportation co-captain | |
| Robert Jepson | .... | driver | |
| Dwight Lindsey | .... | driver | |
| Randy Long | .... | driver | |
| Aaron D. Moore | .... | driver: construction department | |
| Henry Payne | .... | driver | |
| Joe Pelliccio | .... | fuel truck driver | |
| Beverly Reeves | .... | driver | |
| Ronnie Reeves | .... | driver | |
| Dan Tarter | .... | driver | |
| Hank Van Apeldoorn | .... | driver | |
| Marti Wells | .... | transportation captain | |
| Charles Whitaker | .... | driver | |
| James Yeates | .... | driver | |
| Tommy Young | .... | driver | |
Thanks | |||
| Peter Adee | .... | special thanks | |
| Kathleen Blanco | .... | special thanks (as Governor Kathleen Babineaux Blanco) | |
| T-Bone Burnett | .... | special thanks (as T Bone Burnett) | |
| Elizabeth Cantillon | .... | special thanks | |
| Electra Churchill | .... | special thanks | |
| JoAnne Colonna | .... | special thanks (as JoAnne Acheson) | |
| Emily Cummins | .... | special thanks | |
| Cedric B. Glover | .... | special thanks (as Mayor Cedric B. Glover) | |
| Goldie Hawn | .... | special thanks | |
| Bradford S. Lovette | .... | special thanks | |
| Bruce Markoe | .... | special thanks | |
| Terri Pitts | .... | very special thanks | |
| Antony Root | .... | special thanks | |
| Danny Rosett | .... | special thanks | |
| Bradley Stanley | .... | very special thanks | |
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| Full cast and crew | Company credits | External reviews |
| News articles | IMDb Comedy section | IMDb USA section |
"Mad Money" has reasonable entertainment value, great characters, and even a nice little unexpected twist at the end to satisfy the escapist movie-goer. The essential plot of Mad Money is not that original as heist movies go. The formula usually goes something like this: the characters are in a bad financial or similar situation, they find out about some booty supposedly completely unobtainable, devise a scheme to lift the booty which has some intriguing element(s) to it, and then go about getting the booty. Along the way there are some twists and turns to keep it interesting. If it's too easy, it won't work. Part of the fun is whether or not they will get away with it, and how they will do it. Heist movies are almost a dime a dozen these days, with fair such as "Oceans 11" (both the old and the new versions), its subsequent sequels, "Heist", "The Score", etc.
What gives "Mad Money" a unique flavor is the characters who enact the heist, essentially the Neapolitan kind: vanilla, chocolate and strawberry. Most Hollywood heist movies star middle-aged men devising elaborate schemes requiring PhD's to perpetrate the heist. In "Mad Money", the team of schemers are three women working at below-sea-level jobs at the Federal Reserve building: a white grandmother of the upper middle-class variety (Diane Keaton), a middle-aged African-American single mother trying to stay above water (Queen Latifah, who actually stuffs packs of bills into a large shredding machine), and Katie Holmes as a 20-something scatter-brain who will probably lose the better part of her hearing by movie's end. How Holmes ever landed a position at the Federal Reserve is one of the many intriguing mysteries of the movie. A rather unlikely swashbuckling gang of hoodlums who sport wash cloths and garbage bags instead of swords.
Keaton and Latifah have the most at stake in their interesting idea for a financial stimulus package: to lift ragged and torn bills from the Federal Reserve before they are about to be shredded. In other words, stealing money that really isn't money. However, I wouldn't try this at home. Year-round, the Federal Reserve acquires tons and tons of ragged and worn bills from banks and other large financial institutions and swaps them for new crisp clean bills. The ragged bills go by way of the shredding and pulping machines.
How they pull off the heist sort of works, although it does fray into a little bit of the fantastic as stealing from a Federal Governmental agency like the Federal Reserve is sort of akin to trying to raise the Titanic. It probably ain't gonna happen. However, a unique chemistry between the actors somehow makes the movie work, and the writers took the story seriously enough to give a lot of unexpected laughs, the way comedies of this type should be written. In other words, luckily the writers didn't try to make the movie "funny".
On a final note, the outstanding talent of the cast has to be Queen Latifah who does an excellent job of portraying a single mom who wants the booty but has ambivalence about the entire scheme. In fact the entire cast is excellent, with Diane Keaton believable as the guiding force behind the heist, and Ted Danson as her bewildered husband. My only criticism is that I would have liked a little more of a hint regarding the twist at the end which did come out of left field. Enjoyable and worth the price of admission, although I doubt I will shell out another 20 bucks for the DVD.