SparkMore n my opinion it was a great movie with some interesting elements, even though having some plot holes and the ending probably was just too messy and crammed together, but still fun to watch and not your casual movie that is similar to all other ones.

Invaderbank The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Janae Milner Easily the biggest piece of Right wing non sense propaganda I ever saw.

Guillelmina The film's masterful storytelling did its job. The message was clear. No need to overdo.

Red_Identity This film is the type of period romance film I dislike. It's all so sad and emotional, with the loud overbearing score intended to make you truly feel. It's all obnoxious. The performance are good enough, but none of them resonate that strongly because of the very pat direction and the incredibly vapid writing. It's all so clichéd, it's the reason these sort of films don't age very well and the reason why many (like me) don't look forward to them. I'm surprised Moore got a nomination for this, she's just not up to par for the Oscars. Easily her weakest nomination. I can't say I recommend this at all, it's just not up to very high standards and not very entertaining.

Bene Cumb Well, the events are credible and romance visible, but the background is too gloomy and tragic even for Neil Jordan. Everything is complex, sophisticated and the only one finally happy is the boy, a supporting character. Ralph Fiennes as Maurice Bendrix and Julianne Moore as Sarah Miles are great, of course; unfortunately, Stephen Rea (as Henry Miles) is too briefly on screen - he is a great actor and Jordan has used him repeatedly. The book behind (a 1951 novel by Graham Greene) is strong, providing the movie an additional value, a tight backbone; the scenes are tight and do not become blurred. However, the movie is not for everyone, not necessarily for lovers or husbands to enjoy. Due to the above-mentioned gloominess and pain.

Poseidon-3 Based on a Graham Green novel (which had been filmed previously with Van Johnson and Deborah Kerr in 1955), this story of tortured love is beautifully appointed and creatively directed, but also tends to be very one note and dour. In WWII England, Fiennes is a handsome author who is using statesman Rea as a research subject for an upcoming book. When Rea shows little interest and hasn't much available time, he suggests that Fiennes spend some time with his wife, Moore, in order to get her viewpoints of his life and career. Unfortunately, this leads to a hot and heavy affair as Fiennes awakens passions in Moore that Rea hasn't ever even tried to ignite. The couple enjoys a clandestine romance, meeting frequently in less-populated buildings during the Blitzkrieg and creating their own fireworks until one day, following a particularly nasty explosion, Moore refuses to see Fiennes again. The reasons why are shrouded in mystery as both Fiennes and the audience attempt to uncover what has changed and why. Fiennes is understated, but good, in his depressed role and doesn't shy away from the surprisingly vivid love scenes. Moore looks incredible throughout, her hair, face and figure melding beautifully with the period clothing and hairstyles. She also gives a varied and compelling performance, sporting a British accent that has few faults (one of them being her pronunciation of the word "God", for some reason.) She, like Fiennes, has no problem conveying the physical lust of her character. Rea is effective, but displays the same hangdog expression for virtually the entire movie. Hart enjoys a captivating and amusing role as a dogged private investigator with some interesting methods and conjecture. Isaacs, who would later play a vicious villain in "The Patriot", does what he can with the fairly colorless role of one of Moore's confidantes. The film has a lovely look to it, rain and all. The settings are attractive, the clothes are fine, the camera-work is creative, as is the editing and the atmosphere is, at times, palpable. However, the downbeat material is presented in a way that has very little variety or relief. This somewhat plodding approach (not helped by the overriding, insistent score by Michael Nyman) may be off-putting to viewers who aren't captivated by the stars or who aren't invested in the mystery. Ditto the religious angle, which makes its presence known eventually. Fans of tormented romance stories should find it enjoyable.

bkoganbing The End of the Affair is one of those old fashioned romantic type British films along the lines of Brief Encounter. Julianne Moore got an Oscar nomination for Best Actress, but no one in that year was going to beat out Hillary Swank.Ralph Fiennes has a chance meeting with Julianne Moore and her husband Stephen Rea and the passion gets going almost immediately. The apparently indifferent Rea almost makes the affair too easy for both Fiennes and Moore. Eventually though she breaks it off abruptly with Fiennes and he's obsessed to find out why.He hires a private detective played by Ian Hart and his report leads to some surprising developments for all concerned.The film is based on a Graham Greene novel though you can bet that the very Catholic Mr. Greene would not have approved of what Fiennes tells to a Catholic priest played by Jason Isaacs.Actually I liked the rather droll performance of Ian Hart as the detective who winds up working for two of three sides of the triangle and has no scruples about getting his 10 year old son involved to achieve results. Hart did very good work also in Backbeat, playing a young John Lennon.This is a remake of a 1955 film that starred Van Johnson and Deborah Kerr though you can bet it was not as graphic as this version is.For those who love old fashioned romances, you'll like The End of the Affair.