I don't mean to trivialise the subject matter, but that's exactly what Lyne does with this slick, overproduced claptrap. There's a serious story in here with solid performances trying to bring it to life, but it's directed as if it's a Playboy Channel Movie of the Week. Any authentic meaning is brushed aside for stylistic flourishes that are as profoundly unreal as the inane plotting. Lyne seems to have discovered wind as a cinematic device, and uses it almost as much as he lingers longingly over Lane's flesh. This polished production is so effectively manipulative that it makes us think these people are behaving like normal human beings, but they're not. And for all its posing, the film never even bothers to address the issues it raises about marriage and faithfulness, although it tries valiantly to make us think it's saying something Deeply Important. Not even close.
dir Adrian Lyne|
scr Alvin Sargent, William Broyles Jr
with Diane Lane, Richard Gere, Olivier Martinez, Erik Per Sullivan, Kate Burton, Zeljko Ivanek, Margaret Colin, Dominic Chianese, Chad Lowe, Gary Basaraba, Erich Anderson, Michelle Monaghan
release US 10.May.02; UK 7.Jun.02
Shocking behaviour. Connie (Lane) abandons her nice suburban husband for sex in the city with Paul (Martinez).
|"I gotta say, don't pay to see this movie. It kinda kept us on the edge of our seats, a bit, but I kept asking myself 'Why?' Why take a chance and ruin a good thing? And I kept hearing this: 'Ah, what tangled webs we weave when first we practice to decieve.' I am not sure where that saying came from, but it definitely fit this movie. And at the end, when they had 'tidied' up their little mess, and were planning on going on with their lives, I wanted to holler, 'Hey, someone is DEAD!' I was not comfortable with the message of this movie - nor the end." --Laurie T, Minneapolis 12.Apr.02|