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For Da Love Of Money

2002, Movie, R, 90 mins

For Da Love Of Money: Review

FOR DA LOVE OF MONEY
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A scrappy, rag-tag comedy set in a rundown California neighborhood and starring, written, produced and directed by minor league stand-up comedian Pierre Edwards, who's had supporting roles in films like B*A*P*S (1997) and THE WASH (2001). Unfortunately, his entrepreneurial persistence is more impressive than his filmmaking skills. Tone (Hasani Ali) is deep in debt to local tough Diggs (Ken La Ron), so when he witnesses an armored car accident, he seizes the opportunity to enrich himself to the tune of $20,000. But Tone is spotted fleeing the accident site, so he stashes the stolen loot in a backyard trash can belonging to amiable layabout Dre (Edwards). Minutes later, the windfall is, unbeknownst to anyone, scooped up by a homeless man (Dave Tyree). Tone is arrested by a pair of corrupt cops (Stevie Johnson, Christian Keiber) and thrown in jail, so he calls his cousin Sisco (Ronnie Lewis) and tells him to retrieve the long-gone cash. These events coincide with the arrival of an insurance settlement check Dre has been expecting, and his innocent remarks about having come into some money, coupled with Sisco's inept sleuthing, soon has the whole neighborhood buzzing that Dre's sitting on the stolen twenty grand. Everyone tries to sweet-talk Dre out of some money, from predatory females to opportunists of all persuasions, including fey transvestite Boom (Maurice Patton) and flamboyant pimp Too Sweet (Tommy Franklin). While Dre tries to figure out why he's suddenly the most popular guy on the block, Diggs is putting the pressure on Tone to show him the money — or else. A loosely structured parade of 'hood stereotypes and dick jokes, this distasteful comedy is clearly modeled on the shaggy, profane and often very funny FRIDAY (1995), and designed to showcase Pierre's comic presence. But its misogyny, homophobia and overall grossness undermine the tired gags, and its relentless portrayal of African-American women as money-grubbing hootchie mamas (the sole exception is, of course, Dre's mom) would be wholly unacceptable if a white filmmaker had been at the helm. In fact, the film caused unwanted controversy on that front when, prior to its theatrical release, it played a series of college engagements as part of the "Urbanworld Flix & Beats College Tour"; some students were reportedly offended enough to walk out. leave a comment --Maitland McDonagh
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