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Other People's Money

Other People's Money

Comedy · Drama · Romance · 1991

When a corporate raider threatens a hostile takeover of a 'mom and pop' company, the patriarch of the company enlists the help of his wife's attractive daughter—who is a lawyer—to stop the takeover. However, the raider soon becomes infatuated with her, and enjoys the legal manoeuvring as he tries to win her heart.

Movie details

Other People's Money

“Meet Larry the Liquidator. Arrogant. Greedy. Self-centered. Ruthless. You gotta love the guy.”

1991 Comedy · Drama · Romance 1h 43m

Critical arithmetic

One number, for now.

TMDB

6.1 / 10

Community rating

When a corporate raider threatens a hostile takeover of a 'mom and pop' company, the patriarch of the company enlists the help of his wife's attractive daughter—who is a lawyer—to stop the takeover. However, the raider soon becomes infatuated with her, and enjoys the legal manoeuvring as he tries to win her heart.

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 Other People's Money?

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

Norman Jewison

Written by

Alvin Sargent

Danny DeVito

Danny DeVito

Lawrence Garfield

Gregory Peck

Gregory Peck

Andrew Jorgenson

Penelope Ann Miller

Penelope Ann Miller

Kate Sullivan

Piper Laurie

Piper Laurie

Bea Sullivan

Dean Jones

Dean Jones

Bill Coles

R. D. Call

R. D. Call

Arthur

Mo Gaffney

Mo Gaffney

Harriet

Court is in session

Put Other People's Money on trial.

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

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.