Oh, it was from Hemdale! So that explains it.
FeverDog
Did they ever distribute a hit movie? They had a few good movies out there in the '80s (like MIRACLE MILE, RIVER'S EDGE, and SHAG), but nothing that resembled…
Did they ever distribute a hit movie? They had a few good movies out there in the '80s (like MIRACLE MILE, RIVER'S EDGE, and SHAG), but nothing that resembled a box office hit.Why? Could their release schedule be a reason? Or their lack of marketing?Take LOVE OR MONEY. It hit theatres in early January 1990, smack in the middle of Oscar season. I was working in a theatre then, and this movie was plopped on one of our (five) screens with no fanfare, advertisement, or advance screenings. Nobody knew what the hell it was. Patrons who asked about it were met with shrugged shoulders and a recommendation for BACK TO THE FUTURE II (our big movie at the time). Maybe I saw some of it on break; I don't remember (but for some reason I recall a question mark at the end of the title). As a result, the LOVE OR MONEY house was deserted for seven days, until it was booted out the next weekend for GLORY. I have never seen LOVE OR MONEY in a video store, or on HBO, or on TBS, or even on a third-rate UHF station at three in the morning. And judging by the dearth of comments here, neither has anyone else. But at least I've heard of it, and can differentiate it from that lame, similarly-titled Michael J. Fox movie that came out a few years later.
★ 4 / 10
At Best, Only Mildly Engaging, With Humorous Moments Overwhelmed By An Abundance Of Triteness.
rsoonsa
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…
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.
4.5/10
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Not much here for a modern audience unless you're a crazy huge fan of Tim Daly,