As composed by Kevin Falls and coordinated by Tom Holland, “Horse Money” begins well and keeps running into inconvenience about halfway through. It never entirely chooses how detestable or capable Kris should be, which implies the film’s unrealistically fierce minutes appear attached on. Is Kris really a witch or only yearning? It’s difficult to see what matters; really, that might be the film’s point. Kris is never scarier than while guaranteeing her manager that her yen for force is entirely proficient. (“This isn’t about sex, Peter. It’s about work.”) She may simply would not joke about this.
Anybody arranging an exposition on Hollywood’s indulgence with yuppie demonology will need to incorporate “The Temp” in their figuring’s.