Incannerax What a waste of my time!!!

Connianatu How wonderful it is to see this fine actress carry a film and carry it so beautifully.

Hulkeasexo it is the rare 'crazy' movie that actually has something to say.

Kimball Exactly the movie you think it is, but not the movie you want it to be.

Andres-Camara I have begun to see this film, without any hope, to see it. It has been a pleasant surprise, I will not say it is a film for posterity, but if it is a good movie. Also one of the things I like about her is that in her characters we see several types of people, not just a guy, the one who takes today and who is the good, but there are several types and none is good , Are signs of reality.It is independent cinema, would like to see in Spain independent cinema with this range of actors. They are all great. Seeing Naomi, I was surprised, I had not seen an actress cry for a long time and not cover her eyes, to see the whole face. I do not know if it will be your thing or it will be the direction of actors, but I was pleasantly surprised.Just start, there is cut, inside a car and use it to change sequence. I was very surprised, independent film is usually basically screenplay, not characterized by doing this kind of thing.Photography is better than the average of this type of cinema. It is not white, but it does accompany the film. It is not beautiful or perfect but if it is worked.Apart from those details commented before, the rest in terms of direction, is simple. A great direction of actors, but simple plans. It does not bore, except the moments in which the film is forgotten and is going to see planes of nature or becomes poetic. Those moments lower the film.Overall a nice movie.Spoiler:What I like about the actors is that they present us with several types of characters. The coward that although not happy, continues with his life. Also part of the liberals in love, but only until I suffer. Also the honest, I know I've done something wrong and I deal with it, for me.

sol- Content to engage in an extramarital affair to the oblivion of their trusting and neglected spouses, a middle class man and woman ponder about how they might get caught and what the ramifications may, however, the reality of being caught has unexpected consequences for them both in this brooding human drama. The action plays out against a soft and slow yet haunting music score by Michael Convertino, and much of the film's appeal comes the very deliberate pacing (in harmony with the music); the two lovers do not initiate the affair because they need romance and excitement and the danger of being caught never strikes them as anything to worry about until it is too late. Promising as all this might sound, the lovers are actually aloof to the point that it is hard to care about them. Neither of their spouses are particularly likable either and as such, the movie is a rather distanced viewing experience. The best characters are probably the daughters of both respective couples; both girls seem to know more than what they let on and it feels liked a bit of a missed opportunity that the film does not make more of the impact of their parents' infidelity on them. Never to mind, the film is strongly acted even if it is not all that it could be. Laura Dern received some awards attention for her performance back in the day, but Naomi Watts and Mark Ruffalo as the two lovers are just as good. As for what exactly the title refers to, it is never really clear, but it does hint towards the fact that neither couple will be like they were before once their affair is exposed.

secondtake We Don't Live Here Anymore (2004)What do you do when your marriage after ten or fifteen years isn't perfect, and maybe you, or your spouse, is thinking about having an affair? Wow, is this about as universal a theme as any? And set it in a very very nice but very normal semi-suburban contemporary American world (the fringes of an unnamed Washington State city), have two couples who are close friends all begin to doubt and melt down together. It's really a great starting point because it matters.The danger of such a story is that it won't seem original, or insightful, or right enough. Director John Curran is working with a pair of short stories by well known fiction writer Andre Dubus, and he seems to make something special happen out of nothing much. This interplay of four relatively normal people, each distinctive but all four belonging to a cross section of educated, white, upper middle-class America, is almost all of the movie. Their three children play a small but important role anchoring their emotional outbursts, keeping a brake on the breakdowns in a way that is all to familiar.All four of the main actors are cast perfectly. Mark Ruffalo (also an executive producer of the movie) and Laura Dern make one couple, Naomi Watts (a producer) and Peter Krause (still filming episodes as Nate in "Six Feet Under") form the other. They live in similar wood frame houses a short drive from each other. The two men are both English professors and they go running together. The two women don't seem to work at all, but each is raising one or two children, still young. It was once bliss, and should be still, but whatever it is that makes things go wrong in marriage has started to go wrong.It's a convenience of plot, almost the kind of strategy a playwright would use, that the mixed emotions of these four begin to cross among themselves. No one's world is that tightly limited, but it's okay for the movie because the point isn't about the situation being possible, as a whole, but about the individual reactions each has. The movie is slightly deliberate but never slow, as long as you remain curious about their motivations, their fears of getting caught (or wanting to get caught, or expecting to get caught). And their efforts to patch things up, to come to some higher love about it, not just for the "sake of the children" but for themselves.In some ways it's a perfect movie, except that it misses a kind of epiphany that this kind of effort really needs by the end. It does try, and the last few minutes of the movie are unexpected but quite reasonable. Everyone can quibble about whether he would do this or she would do that, based on how the characters are set up, and I certainly would--for example, the final action by Naomi Watts struck me as a great move by the writer, adding another level of depth to it all, but it wasn't quite supported enough by what happened earlier. I can't say more, but it's an example of both how the whole movie, first scene to last, ties together, and how it all could have been nuanced and emphasized in tiny little ways to give it even more credibility and incredibility (the first for conviction, the second for drama).Watts is probably the weakest link of the four, and Krause, as terrific as he is here, is given a personality of detachment and minor depression, so he is often almost invisible. Ruffalo matches Krause's calm, but he has an uncanny ability to make that permeate the screen. His face and movements seem to do nothing, literally, and yet he has a tone of voice, and just a bare change of expression, to be really effective. Dern is the most dynamic of the four, and she goes from one intensity to another, from quiet to vitriolic, in a commanding performance. I'd call this an ensemble cast (and it is, I know) but in fact most of the film shows only two actors at a time, in different combinations.It's an odd but perfect comparison to another film, released three weeks later in 2004, that deals with almost the same themes, "Closer," directed by Mike Nichols. I think "Closer" is astonishing, another set of four great actors in a mixed up set of emotions, but next to Curran's film, Nichols makes an extraverted, over the top, big personality experience out of it. It's a great ride, whatever the interactions of the two couples. In "We Don't Live Here Anymore" there is every effort to keep it small, local, regular, everyday. If that's it's strength, somehow, it's its limitation, too, because it demands a very high level of subtlety. Dramatics has to be replaced with perception, and with perfect writing.And it comes close, at times very close. Curran is no Mike Nichols, frankly (no one is), but he has pulled off (with the help of four great actors in good form) an excellent film. It will be too run of the mill for many viewers, but if you like soap opera drama raised to the level of a two hour, thoughtful movie, you'll really like it.

Ali Catterall English professor Jack (Ruffalo) is married to slobby Terry (Dern) and carruying on with his friend's foxy wife Edith (Watts). Edith's husband, failed novelist Hank (Krause), is carrying on with Terry and, apparently, half of New England. It's a right old carry on.This one's been sold as a "provocative drama", but it's really just a souped-up soap opera with pretensions to artistic importance. There are few searing insights here, save for an aside to the kids that "Grown ups fight - especially married ones".Clunking symbolism abounds; from a tangled, primordial forest surrounding the college campus in which Jack and Edith play Adam and Eve ("Easy, sailor!" gasps Watts' Edith hilariously, while she's penetrated against a tree), to animal-themed wallpaper and Watts' hushed revelation that we're all little more than "gorillas in a zoo licking it off our hands". Tell, don't show, is their watchword.In mitigation, the ensemble cast are mostly sound, given the limitations of their material. Ruffalo's the model of a prematurely-induced mid-life crisis; whether deliberately picking fights to hasten a relationship's demise (a process applied with precisely the opposite aim in Edward Albee's sharper 1966 film Who's Afraid of Virginia Woolf?), or taking perverse delight in the ins-and-outs of Terry's adulterous tit-for-tat tryst, thus assuaging his own guilt.Dern's wronged housewife is a sight to behold, if not exactly savour, her face contorted almost beyond recognition into a mask of pain. Krause, too, impresses in his first major screen role as a self-absorbed pleasure-seeker and deliverer of platitudes who breezily informs Jack to "love all the people you can", utterly oblivious to the hurt he leaves behind.Yet these are all characters in search of a decent screenplay. "Looks like it's going to snow", murmurs Dern toward the maddeningly ambivalent climax, and it's typical of the script, and of its delivery, that you can practically see the actors sight reading off their portentous autocues.