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70It is a great character study that ranks with Paul Thomas Anderson's epic "Magnolia."
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50Guaranteed-to-bum-you-out conclusion.
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40The film ultimately offers nothing more than people in an urban jungle needing other people to survive. Kane's character observes that "We’re all connected by love" -- and that sounds familiar, too.
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40Mattei is tiresomely grave and long-winded, as if circularity itself indicated profundity.
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40Sluggishly paced and shot in the sort of grubby digital video that renders even the dewiest skin tone liverwurst gray, the film comes across as little more than a series of acting workshop exercises wrapped in a tissue of cliché.
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40This kind of episodic chain of interlocking encounters has become a formulaic favorite in American indie cinema, and Mattei's take on the genre is narrow and schematic.
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38Mattei's script was written in 1998, and the absence of any sense of the impact of 9/11 on New Yorkers is palpable. While watching "Love," I was thinking what great potential there was - still is - for a Manhattan "La Ronde" set in the days following 9/11, when strangers sought comfort from each other in spontaneous sexual alliances.
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33The characters who cross paths here in the hard shadows of late-'90s New York City are meant to convey loneliness, bitterness, neediness, loss, and bad karma. Mostly, they convey bad Sundance.
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30Anemic chronicle of money grubbing New Yorkers and their serial loveless hook ups.
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30What keeps Love in the Time of Money from being truly awful is the fact that the actors give it their all -- they may be in contrived situations, but by golly they'll make the best of them.
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30Manages to make sex look like no fun at all.
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25The idea, I suppose, is that love connects us all, even when it goes wrong. Fortunately, even love doesn't usually go quite so badly as this movie does.
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25An exercise in cynicism every bit as ugly as the shabby digital photography and muddy sound.
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25Neither original nor presented in a convincing way.
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20A listless and desultory affair.