Michael J. Fox, a name synonymous with charm and a certain brand of energetic screen presence, is often a reliable draw for audiences. From his breakout role in Family Ties to genre-defining performances in Teen Wolf, Back to the Future, and The Secret of My Success, Fox has cultivated a dedicated following. Even venturing into more dramatic territory in films like Light of Day and Casualties of War, his commitment is evident. This reviewer even willingly sat through the cinematic misfire that was Life with Mikey, purely on Fox’s appeal. It’s with this established fondness for Fox that For Love or Money (1993) is approached. And while glimmers of fun and Fox’s inherent charisma shine through, the film ultimately falters due to a weak and frankly, nonsensical plot.
Image alt text: Michael J. Fox exudes charm as a hotel concierge in a promotional still from the 1993 romantic comedy “For Love or Money”.
Fox Shines as the Concierge, Story Stumbles
In For Love or Money, Fox embodies Doug Ireland, a New York City hotel concierge. This role seems tailor-made for his talents, allowing him to showcase his boyish charm, an air of nonchalant arrogance, and a self-serving yet somehow endearing persona. One of the film’s highlights is a scene depicting the bustling world of high-end concierge services. It features a clandestine meeting in a park where concierges from rival hotels, including Fox’s Doug, engage in a ticket-swapping black market for coveted Broadway shows, sporting events, and rock concerts. This detail-rich scene offers a fascinating glimpse into a world most viewers are unlikely to experience, and Fox is perfectly at home navigating this intricate system.
However, beyond Fox’s performance and these fleeting moments of intrigue, For Love or Money unfortunately unravels. The central narrative is riddled with implausibility. Doug’s ambition is to open a luxury hotel, a dream he hopes to finance by wooing a venture capitalist named Mr. Higgins. Simultaneously, Doug is romantically pursuing Andy, a department store worker with aspirations of becoming a singer, who, crucially, shows little interest in him. The plot contortions begin when Higgins, the potential investor, requests a discreet hotel room for an extramarital rendezvous. The woman he’s meeting? In a staggering coincidence, it’s Andy, the very woman Doug is pursuing.
Image alt text: Michael J. Fox and Gabrielle Anwar in a scene from “For Love or Money” (1993), showcasing their characters’ strained romantic dynamic.
Coincidence Over Character: Plot Holes Sink the Film
The film then spirals into a series of increasingly improbable coincidences, each more contrived than the last. These plot devices ultimately overwhelm any potential enjoyment, crushing the narrative momentum, the director’s efforts, and even Fox’s otherwise commendable performance. The script prioritizes unbelievable twists over character development and logical progression. One can’t help but feel that For Love or Money would have benefited from a stronger focus on the hotel concierge world and less on the convoluted romantic entanglements.
Director Barry Sonnenfeld, known for his cinematography work with the Coen brothers and his directorial success with The Addams Family, demonstrates flashes of directorial flair. Despite the weak script, Sonnenfeld manages to inject moments of visual interest and clever scene construction. The film occasionally redeems itself with these small, well-executed scenes, a testament to Sonnenfeld’s abilities considering the overall poor quality of the writing. It suggests that Sonnenfeld possesses the potential to create truly compelling films if he can find scripts that match his directorial vision. For Love or Money, however, feels like a collection of disconnected moments rather than a cohesive and satisfying movie.
Final Verdict: Fox’s Charm Can’t Save This Romantic Muddle
In conclusion, For Love or Money (1993) is a disappointing cinematic experience. While Michael J. Fox delivers a performance that is consistently better than the material he is given, and Barry Sonnenfeld offers glimpses of directorial promise, the film is ultimately undone by its idiotic and convoluted plot. Fox’s talent as a performer is undeniable, and he continues to search for scripts worthy of his abilities. For Love or Money sadly is not one of them. For fans of Michael J. Fox, there are far better films in his filmography to revisit. This one is best left as a footnote in his otherwise impressive career.
