Where The Money Is: Critic Reviews

Age has pared Paul Newman's fine features to a sketch; it's also honed his huge movie appeal to such basics that he can pretty much maintain our attention while in a coma.

Sadly, the subtext and context of Money is that everyone's better days are a distant memory.

Paul Newman idles gracefully through Where the Money Is, a caper film hardly worthy of his presence.

There's real pleasure in discovering Where the Money Is, thanks to a silver fox named Paul Newman.

Many actors retain their talents into their 70s and beyond, but not too many could convince us that, at that age, they could rob a town blind -- and swipe the leading lady to boot.

Where the Money Is takes Newman's master thief to new triumphs.

Not remotely in the same league with Newman's last caper film, The Sting. But then, it doesn't need to be.

Catch it on cable sometime, and enjoy.

If only Fiorentino had a chance to bring more of that lethal quality she brought so memorably to The Last Seduction's villainess, Where the Money Is might have been a different story and a much more enjoyable film.

Decent movie that pushes the PG-13 envelope.

The money of the film's title should refer to Paul Newman, because the actor's presence elevates this routine caper into a pleasantly bankable diversion.

Newman and Fiorentino steal cash -- and scenes -- in amiable heist comedy.

A sly, smooth, extremely enjoyable caper... full of scenes you want to get lost in.

For all the film's jauntiness (actually, because of it), it merely depresses.

For its first half this plays like a character-driven, antiestablishment caper of the 1960s and '70s. As the story progresses, the characters turn rotten. When the establishment is more appealing than the maverick heroes, something has gone wrong.

USA Films and director Marek Kanievska should be congratulated. They've done what thirty-odd years and countless films couldn't: make Paul Newman uninteresting.

The film misfires because of its weak script, lack of punch to its comedy, and the plot was too incredible to believe or become absorbed in.

Plodding, dull and endless at a short 89 minutes.

Maybe Newman's relaxation in front of the camera was just so infectious that everyone behind the camera felt the urge to work in a lower gear.

Money is short, sweet and to-the-point.

The movie as a whole is wonderfully laid-back and pleasant to be around.

You've seen it all before, but even in repose, lion in winter Newman is an engaging entity.

Paul Newman's co-star never really interacts with him -- and their marriage is seriously underwritten, a fatal weakness toward the end.

The movie utterly lacks the spark that makes caper movies fun.

Even Newman can't completely salvage this misfire, which lacks the laughs and thrills necessary for such a risky movie hybrid.