Olivia (Aniston) has given up teaching and is working as a maid, to the dismay of her well-to-do friends Franny (Cusack), Jane (McDormand) and Christine (Keener). Franny and husband Matt (Greg Germann) spend much time deciding which charity to support, and are planning to host a table at an elaborate charity function. Jane and her slightly effeminate husband Aaron (Simon McBurney) are successful designers, while Christine is a script-writer who collaborates with her husband David (Jason Isaacs), despite the fact they are unable to communicate. They are all concerned about Olivia and the fact she is unable to maintain a proper relationship.The film offers little indication of how these four women became close, with Olivia so much younger and leading an utterly different life. Franny comments that she isnt certain whether they still would be friends if they met now; but for the other two, there is the feeling they keep Olivia around to maintain a sense of superiority - their lives may be disintegrating, but at least they aren't maids. Despite the fact that most of us aren't filthy rich, Friends With Money is a dramedy that offers up issues that all of us can relate to in some way. All of the performances are exceptional and with the addition of a great script this is a film well worth watching.'

This is the hard drug: pure surrealist cinema. Imagine a series of Salvador Dali paintings turned into a live action film, but be warned these are the early Dali images were talking about, and it was among other things a still image from this film which prompted George Orwell to write: "...you have here a direct, unmistakable assault on sanity and decency; and even-since some of Dali's pictures would tend to poison the imagination like a pornographic postcard-on life itself." Don't imagine for a minute that Orwell's words have dated; many of the images remain hard to take today.'

It begins with a dinner party, where stylishly dressed guests entertain themselves by exchanging gossip, not noticing that the servants have quietly slipped away. But as the evening draws on, none of the guests seem to be able to leave the party. And in the days afterwards, as the guests stay, strangely incapable of departure, the genteel façade slips further and further away.In the best surrealist tradition, theres no rational explanation for these strange events. But for those prepared to suspend rationality for an hour and a half, there's rewards aplenty. Funny, sick and savage, Buñuel cheerfully rips into the thin line that separates even the most cultured people from their baser instincts. Distinctively disturbing, engagingly elliptical, perversely pleasurable and surreally strange - one for the buffs and the wannabe buffs. '