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For 200 Grand, You Get Nothing Now

For 200 Grand, You Get Nothing Now

Comedy · 1982

After getting screwed over by life (again), two losers decide that enough is enough. Using stolen ski masks and stolen toy guns, they take hostages in their local bank, holding them for ransom. Things go well until the hostages learn what's going on, and demand a piece of the action for themselves.

Movie details

For 200 Grand, You Get Nothing Now

1982 Comedy 1h 25m

Critical arithmetic

One number, for now.

TMDB

6.3 / 10

Community rating

After getting screwed over by life (again), two losers decide that enough is enough. Using stolen ski masks and stolen toy guns, they take hostages in their local bank, holding them for ransom. Things go well until the hostages learn what's going on, and demand a piece of the action for themselves.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over For 200 Grand, You Get Nothing Now?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Édouard Molinaro

Written by

Didier Kaminka

Daniel Auteuil

Daniel Auteuil

Sam

Gérard Jugnot

Gérard Jugnot

Paul, chômeur expérimenté

Elisa Servier

Elisa Servier

Caroline, amante de Sam

Anémone

Anémone

Nicole, publiciste pour établissements bancaires

Jean-Pierre Castaldi

Jean-Pierre Castaldi

Henri, ancien gorille de l'Élysée

François Perrot

François Perrot

Le directeur de l'agence bancaire

Paul Barge

Paul Barge

Jean-Louis, directeur de cabinet du ministre

Court is in session

Put For 200 Grand, You Get Nothing Now on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Arthouse Gremlin

“Its refusal to behave is the point.”

The strange choices create the kind of friction that follows you out of the theatre and into the argument.

The prosecution The Cool Ironist

“Oddness is not depth.”

A film can break every rule and still leave nothing behind but the memory of how hard it tried to be singular.