| Fotos (Alle 72 | Diashow) | Videos (see all 16 videos) |
| Diane Keaton | ... | Bridget Cardigan | |
| Ted Danson | ... | Don Cardigan | |
| Katie Holmes | ... | Jackie Truman | |
| Adam Rothenberg | ... | Bob Truman | |
| Queen Latifah | ... | Nina Brewster | |
| Peyton 'Alex' Smith | ... | Older Dante | |
| Charlie Caldwell | ... | Cop #1 | |
| Richard F Law | ... | Cop #2 (as Richard Law) | |
| Meagen Fay | ... | Mindy Arbogast | |
| Christopher McDonald | ... | Bryce Arbogast (as Chris McDonald) | |
| Denise Lee | ... | Counselor | |
| Sylvia Castro Galan | ... | Selina | |
| Morgana Shaw | ... | Molly | |
| Roger R. Cross | ... | Barry Cobb (as Roger Cross) | |
| Stephen Root | ... | Glover | |
| Marc Macaulay | ... | Agent Wayne | |
| Andrew Sensenig | ... | Cart Guy | |
| Finesse Mitchell | ... | Shaun | |
| Maliek Golden | ... | Young Dante | |
| Khari King | ... | Young Jimmy | |
| Mathew Greer | ... | Junior | |
| Jim Cramer | ... | Himself | |
| John McIntosh | ... | Headmaster | |
| Bill Jenkins | ... | Jeweler | |
| Michael P. Flannigan | ... | Foreman | |
| Drew Waters | ... | Fed Guy #1 | |
| Tron Kendrick | ... | Fed Guy #2 | |
| Ginnie Randall | ... | Ms. Cobb | |
| Joe Nemmers | ... | Detective Smith | |
| Julius Washington | ... | Detective Jones | |
| J.C. MacKenzie | ... | Richard Mandelbrot | |
| Cliff Fleming | ... | Helicopter Pilot | |
| Jennifer Wilkerson | ... | Hotel Clerk | |
| Bryan McMahon | ... | District Attorney | |
| Richard Folmer | ... | IRS Man | |
| Duke W. Scott Jr. | ... | Detective Scott | |
| Clay Chamberlin | ... | Waiter | |
| Bryan Massey | ... | Detective Brinkley | |
| Sterling Blackmon | ... | Older Jimmy | |
| übrige Besetzung in alphabetischer Reihenfolge: | |||
| Michael Showers | ... | Detective | |
Regie | |||
| Callie Khouri | |||
Buch(WGA) | ||
| Glenn Gers | (screenplay) | |
| John Mister | (earlier screenplay) | |
| Neil McKay | (screenplay "Hot Money") and | |
| Terry Winsor | (screenplay "Hot Money") | |
Originalmusik | |||
| Marty Davich | |||
| James Newton Howard | |||
Kamera | |||
| John Bailey | (director of photography) | ||
Schnitt | |||
| Wendy Greene Bricmont | |||
Casting | |||
| Junie Lowry-Johnson | |||
Szenenbild | |||
| Brent Thomas | |||
Bauten/Dekorationsbau (art directors) | |||
| Kevin Hardison | |||
Bühnenbildner/Ausstatter (set decorators) | |||
| Vera Mills | |||
Kostüme | |||
| Susie DeSanto | |||
Maske/Frisuren | |||
| Kimberly Amacker | .... | additional makeup artist | |
| Fríða Aradóttir | .... | hair stylist: Bridget | |
| Julie Baker | .... | hair stylist: Nina | |
| Nanci Cascio | .... | hair stylist | |
| Krystal Kershaw | .... | additional makeup artist | |
| Julie Kristy | .... | key makeup artist | |
| Adruitha Lee | .... | hair department head | |
| Ebony Star Parson | .... | additional makeup artist | |
| Michelle Vittone | .... | makeup department head | |
| Tony Ward | .... | key hair stylist | |
Produktionsleiter (production managers) | |||
| Gina Fortunato | .... | unit production manager | |
| Jerry Gilbert | .... | post-production supervisor | |
| Joseph Lobato | .... | post-production manager | |
Regieassistenten | |||
| 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) | |
Ausstattung (Stab) | |||
| Irwin Ainsworth | .... | toolman | |
| Jack Ballance | .... | set designer | |
| John Berger | .... | set designer | |
| John Blanchard | .... | construction general foreman | |
| Gloria Hardison Clark | .... | art department coordinator | |
| Ken Deubel III | .... | lead scenic | |
| Terry Deubel | .... | paint foreman | |
| Tommy Gilbert | .... | set dresser | |
| Kristine Grippo | .... | props | |
| Marco Guerrero | .... | swing | |
| Shannon Harrelson | .... | set designer | |
| Frank Hendrick | .... | set dresser | |
| Michael Hendrick | .... | leadman | |
| J.D. Jacoby | .... | props model builder | |
| Thomas V. Johnson | .... | paint foreman | |
| Troy A. Johnson | .... | construction buyer | |
| Ellen Lampl | .... | graphic designer | |
| Ernerst J. Levron Jr. | .... | swing | |
| Andy Lovell | .... | props p.a | |
| Katherine Miller | .... | buyer | |
| Johnny Rasmussen | .... | swing | |
| Scott A. Reeder | .... | property master | |
| Sondra Rowland | .... | props | |
| Suzanne Stover | .... | buyer | |
| Chuck Stringer | .... | construction coordinator | |
| Tim Tillman | .... | gang boss | |
| Keith Wall | .... | set dresser | |
| Joe Walsh | .... | set dresser | |
| Koen Wooten | .... | assistant property master | |
Ton Stab | |||
| 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 | |
| Chris Main | .... | boom operator | |
| Jay Nierenberg | .... | supervising sound editor | |
| Angelo Palazzo | .... | sound effects editor | |
| Stuart Provine | .... | sound effects editor | |
| Jonathan Wales | .... | sound re-recording mixer | |
| Jared Watt | .... | utility sound | |
Spezialeffekte | |||
| Steve Frusher | .... | special effects technician | |
| Jack Lynch | .... | special effects coordinator | |
| Richard E. Perry | .... | special effects technician | |
| Bob Trevino | .... | special effects foreman | |
Visual Effects | |||
| Simeon Asenov | .... | visual effects art director | |
| Lawles Bourque | .... | digital compositor | |
| Rachel Clement | .... | digital cleanup artist | |
| Scott Coulter | .... | visual effects producer | |
| Konstantin Dimitrov | .... | digital compositor | |
| Stanislav Dragiev | .... | visual effects supervisor | |
| Evan Ghigliotty | .... | digital artist | |
| Lyubomir Grigorov | .... | visual effects | |
| 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 | |
| Madhava Reddy | .... | digital intermediate | |
| David Van Woert | .... | visual effects producer | |
Stunts | |||
| Kevin Ball | .... | stunt double | |
| Kevin Beard | .... | stunt performer | |
| Lex D. Geddings | .... | assistant stunt coordinator | |
| Steve Ritzi | .... | stunt coordinator | |
Casting (Stab) | |||
| Nick Anderson | .... | casting associate | |
| Jamie Baremore | .... | casting associate | |
| Tara Duncil | .... | casting associate | |
| Tara Duncil | .... | extras casting | |
| Barbara Harris | .... | adr voice casting | |
| Brinkley A. Maginnis | .... | casting director: background | |
| Brinkley A. Maginnis | .... | casting: Shreveport | |
| Brinkley A. Maginnis | .... | local casting | |
Kostüm und Garderobe (Stab) | |||
| Marilyn Brum | .... | costumer | |
| Donna Chance | .... | key set costumer | |
| Heidi Howell | .... | set costumer | |
| Jennifer Kamrath | .... | key set costumer | |
Schnitt (Stab) | |||
| Samer Al-Asadi | .... | supervising on-line editor | |
| Eric Bryant | .... | on-line editor | |
| Julius Friede | .... | digital intermediate colorist | |
| Christopher Kroll | .... | associate editor | |
| Candice Levy | .... | post-production coordinator | |
| Dennis Little | .... | digital intermediate producer | |
| Jon Pehlke | .... | digital intermediate on-line editor | |
| Sarah Priestnall | .... | production supervisor: digital intermediate | |
| Lee Wimer | .... | color timer | |
Musik (Stab) | |||
| Selena Arizanovic | .... | music coordinator | |
| Budd Carr | .... | music supervisor | |
| Nora Felder | .... | music supervisor | |
| Michael Mason | .... | music editor | |
| Michael Mason | .... | score producer | |
| Ashley Miller | .... | executive in charge of music: Millennium Films | |
| Robert Puff | .... | music preparation | |
| Brian Sapp | .... | additional music clearances | |
| Stuart Michael Thomas | .... | composer: additional music | |
Transporte | |||
| Annette Ansley | .... | mini-van driver | |
| Joe Comeaux | .... | 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 | |
Widmungen und Dankeschöns | |||
| 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 | |
| Goldie Hawn | .... | special thanks | |
| Bradford S. Lovette | .... | special thanks | |
| Antony Root | .... | special thanks | |
| Danny Rosett | .... | special thanks | |
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| Besetzung und Stab | Beteiligte Firmen | Externe Kritiken |
| Nachrichtenartikel | IMDb Komödie section | IMDb USA section |
| Add this title to MyMovies |
The overwhelming feeling of disappointment after walking out of this film is that this film could have been much more. The caper at the heart of "Mad Money" most closely resembles "The Inside Man", director Spike Lee's under appreciated masterpiece bank robbery film. However, the films could not be more different. Spike Lee was smart and experienced enough to know that even with a great cast and clever caper, you need a vision to bring out greatness. Mr. Lee also knew that you must choose a style.
Director Kallie Khouri, best known for writing and producing the feminist cult classic "Thelma & Louise" failed in every conceivable way - she demonstrates no eye for cinematography, a tin ear for dialogue, no timing for pacing, no point of view, and no talent for directing actors.
"Mad Money" is based on an British caper television movie "Hot Money", produced by Granada Television. The screenplay translation to America was written by Glenn Gers, whose best known screenplay to date was "Fracture" staring Anthony Hopkins and Ryan Gosling. Mr. Gers failed miserably to take any chances. A more talented writer would have created the characters from whole cloth, rather than substituting American stereotypes; in "Mad Money" there is the head-bopping early twenty-something, the black single mother in the projects, and the upper middle class desperate housewife. There is no excuse for laziness. If Mr. Gers had create real people, then perhaps he wouldn't have created characters that came out of other people's poor imagination. Writing requires an understanding of humanity and cannot be faked. The screenplay for "Mad Money" had not one shred of genuine emotion. Spare me the notion that these characters were suppose to be light and frothy drawbacks to characters like in the caper classic "Ladykillers" with Sir Alec Guinness. There were just about 3 laughs in the entire picture. If I ever was so lucky to have a cast with Queen Latifah and Diane Keaton, I'd be embarrassed that I had put such a blemish on their filmographies, by giving them so little to make great.
No comedy, no drama, no thrills, no real danger, and no romance creates no film worth watching. I wish they could have afforded Carrie Fisher to doctor this screenplay and imbue it with a glint of genuine greed or true wit or anything that would have made this film any more watchable.
I also wish that the studio would have kept Ms. Khouri in the producer's chair, and brought in a director who knew how to fix a script, bring style, rather than shoot from an anywhere goes point of view, and attempt to make something memorable.