Karry Best movie of this year hands down!

Odelecol Pretty good movie overall. First half was nothing special but it got better as it went along.

Griff Lees Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

Marva It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

a666333 The cast and quality black-and-white camera work would seem to destine this film for something great but we don't get there. The problem seems to be the storyline/script which is just too familiar and predictable. Glen Ford plays a fairly well-to-do cop who feels pressured by his barbie doll young wife, Elke Sommer, to deliver even more affluence. His partner, Montalban, is more directly avaricious. Cotten is a corrupt doctor and a very used looking Rita Hayworth is Ford's ex-girlfriend from years ago. Ford as usual, underplays but nevertheless makes you feel the cold emptiness and disillusionment of the character. Everyone else delivers well but I think we have all seen these characters, motivations and situations a hundred times before and the script does not give any room for interesting angles or surprises. We get a very dark (literally and figuratively) and gritty film but not something that is likely to grow on you. If this had been made in 1932, it would have been a far more significant film. By the mid 60s, it was tired formula.

blanche-2 Glenn Ford and Ricardo Montalban are good policemen gone bad who fall into "The Money Trap," a 1965 noir directed by Burt Kennedy. Ford plays Joe Baron, married to beautiful Lisa (Elke Sommer) who is no longer getting dividends from her father's company. Downsizing and some yard sales would seem to be in order, but instead, Joe has his eye on a mob doctor's (Joseph Cotten) safe that's filled with money. Montalban, as his partner Pete, wants in. One man has already been killed cracking the safe, and there are some surprises in store.This film is just okay, kind of depressing, but it's notable for the performance of Rita Hayworth as the widow of the dead burglar. She looks pretty used up as her character should, but she's still a stunning woman with true star charisma and great chemistry with Ford, her old co-star. And, as someone else mentioned, how many 50-year-old women playing character roles get to shack up with the lead in a movie? Well, if anyone could, it's Rita.Ford was an appealing star without a huge range; this character could have been mined for more depth, but he's fine in the role. Montalban is very good as his money-obsessed partner.Worth it for Rita.

misswestergaard I thoroughly enjoyed this film. It has smooth, stylish, black & white photography; a peppy but brooding jazz soundtrack and charismatic actors. It's a simplistic but compelling morality play in glamorous film noir clothing. Glenn Ford is sexy (in a vulnerable tough guy past his prime sort of way), Rita Hayworth is lovely and sympathetic, Elke Somer is adorable, Ricardo Montalban is stupid and greedy, Joseph Cotten is sleazy and everyone is degraded. The men suffer from their lack of faith in others; the women through their misguided dependence on virility (they count on men to provide emotional and worldly sustenance). It's worth seeing just for the glossy cinematography and the early 60's architecture and settings.It is not a film for those who venerate realism or seek a highly original screenplay, nevertheless it is far more slick, attractive and entertaining than a large percentage of current Hollywood film or television. Like a song sung by Amy Winehouse, you wouldn't use it to tell you how to live, but it sure feels good when you turn it up loud and surrender for a little while.

bmacv The noir cycle had run its course by the early 60s, but a few stragglers made it through the gates before the 70s changed the way movies were made and viewed. The Money Trap is one of them, and could have been made, in terms of technique and sensibility, in 1956 rather than a decade later. (Digression: this was a time when a series of European "bombshells," most of whom seem to have learned their lines phonetically, starred in big-budget movies, in Hollywood's dizzy anticipation of multiculturalism. Here we have to endure Elke Sommer whose eyes all but cross in her attempt to pronounce English). The theme is the rot at the core of the American Dream (Norman Mailer's novel of that title appeared in 1966, too). Glenn Ford plays a police detective goaded by Sommer to a higher standard of living than his salary permits. He allows himself to be lured into the company of some very shady characters, chief among whom is Joseph Cotten, and starts his descent down the primrose path. Best part of the movie is the return of Rita Hayworth (Ford and she first paired, unforgettably, in Gilda 20 years earlier), as a blowsy waitress with whom Ford once.... Well, you get the picture. When he asks her how she's been, she grudgingly responds, "I've been around."