All Jackie Chan movies are basically the same right? Jackie is the good
guy who's on the run from or in pursuit of a truly evil bad guy. In
this one Jackie plays an Imperial Chinese guard sent to the American
west during the 1800s to rescue a kidnapped princess (Lucy Liu). He
buddies up with a bumbling outlaw (Owen Wilson) and as you might guess
action and laughs follow.
One reason for Chan's phenomenal success of recent years is that he
seems to realize his own strengths and weaknesses as an actor and plays
up to them. As he did with Chris Tucker in "Rush Hour " Chan plays the
straight guy while Wilson (doing a more slapstick type of comedy than in
"Bottle Rocket" and other films) acts the goof.
Well there's some nice scenery of the Sierra Nevadas and the old west
(where this stuff was actually filmed I have no idea but it looks
great) but other than that this film is a showcase for the actors. For
the most part director Tom Dey doesn't deviate from the tried-and-true
elements of a Hollywood western: Gunfights Indians brothels bounty
hunters barroom brawls hangings damsels in distress and so on. The
final fight between the good guys and bad guys is a lot of fun mixing
up swordplay gunplay martial arts and fighting sticks.
Let's hear it for the old guy who in this movie comes off sexier than his buff young accomplice (Dermot Mulroney). OK the old guy happens to be the gracefully aging icon Paul Newman -- as a feisty heistmeister who dodges a long prison sentence and then teams up with his equally conniving rest-home nurse (Linda Fiorentino) on a bank job gone wrong. "Where the Money Is" is breezy suspenseful and as much a love story as anything else -- if you call mentoring a new life in crime a kind of love. The mission-improbable caper is no more or less entertaining than a "Rockford Files" rerun but the film's swerving joyride takes its real thrills from the great escape that Fiorentino's Bonnie Parker makes from a dead-end life in the married lane.
Newman still hasn't lost it and as Henry Manning he doesn't miss any nuances in the edgy balance between streetwise wariness and amiable rapport with his sultry new colleague. The steam-powered Fiorentino has forged her career by making danger look casual and this is her most alluring work since "The Last Seduction" added another zero to her salary. Her chemistry with Newman a flirty twist on the idea of honor among thieves is really what makes this movie worth seeing. Mulroney is serviceable as the dim but lovable hubby a supporting role that's more foil than fully etched character.
We can all thank director Marek Kanievska for deciding not to have the May-December duo end up in the sack and leaving them simply professional cohorts. The director's admirable sense of comic timing works all the better by not letting the laughs get in the way of his leads' exploration of their characters -- although there's no denying the limits of this frothy genre. Perhaps Kanievska's greatest feat here is allowing Newman to retain his dignity in close-up.