IMDb Rating 6.7 10 73


Downloaded 230,252 times
April 10, 2019



Erik Per Sullivan as Charlie Sumner
Margaret Colin as Robyn Graves
Richard Gere as Narrator
Zeljko Ivanek as CIA Boss
720p.BLU 1080p.BLU
550.79 MB
23.976 fps
124 min
P/S N/A / N/A
1.60 GB
23.976 fps
124 min
P/S N/A / N/A

Movie Reviews

Reviewed by Frank Dudley Berry, Jr. 8 / 10 / 10

The Ending

I am writing seven years after the fact to express my bafflement over the thought that the ending, which to me was as straightforward as an arrow shot from a bow, could ever be mistaken as ambiguous. 'Unfaithful' is an old fashioned morality tale, that moves in one direction almost vector-style. It is about a woman who allows a passing fancy to become an obsession, and finds the obsession devouring her entire life. Her husband ends up murdering her lover. He at first appears to have escaped consequences, but as the movie closes, it is apparent the crime will be discovered. At the end of the movie, the couple are talking in the car about love and their lives together - then the camera pans back to show they are outside a police station. To me, the thought that some have that they may run away, may not, is out of the question. The synopsis is dead wrong. This last dialog is not hopeful, but forlorn and anguished. All that they have had is irretrievably lost, due to the wife's foolishness and her husband's anger. Some members of the audience forget that characters in a movie are supposed to behave realistically. The couple in Unfaithful are far too entrenched in their upper middle class lives to have any genuine chance of flight. That last dialog is intended to underscore how much has been lost, and what devastating consequences the affair has had. It is NOT a discussion of possible alternative. The moment after the picture ends, the husband is going to surrender himself to the police. He really has no other choice. To me, this ending was sad, profound, and absolutely logical, the fitting end to a picture in which there had been a great deal of commentary on the risks of infidelity.

Reviewed by a_chinn 8 / 10 / 10

Possibly Diane Lane's best leading role is sadly not her best film

Diane Lane cheats on husband Richard Gere with hunky Olivier Martinez, hence the title of the film. Based on the much smarter Claude Chabrol film "La Femme infidèle," this American remake directed by Adrian Lyne ("Indecent Proposal" "Fatal Attraction") is slickly made, but lacking in any depth, outside of the dramatic sutuation. The film was adapted by Alvin Sargent, who's written everything from "Paper Moon" to "Ordinary People" to the recent Marvel Spider-Man films and also by William Broyles Jr. (Appollo 13" and "Flags of Our Fathers"), so you might have expected a better script, and Lyne is a director who's films are typically only as good as his scripts. The Chabrol film presented a routine marriage reinvigorated by the husband's murder of his wife's lover, but Lyne's film doesn't go anywhere that dark and ends on a rather ambiguous note. What "Unfaithful" does feature is an excellent performance by Diane Lane, who really carries the water for the film. Lane makes her character's choices and actions believable, elevating what could have easily been an empty-headed Zalman King "Red Shoes Diaries" type of softcore film to something more interesting. She makes her character's inner conflict palpable and pulls the audience into her character's justifications for her choices, right or wrong. Besides Lane, the film also benefits from a fine score by composer A.P. Kaczmarek and lush photography by Peter Biziou. Lyne is an interesting commercial director who poses interesting questions and situations in his films, but most lack the depth to be considered much beyond commercial entertainment ("Jacob's Ladder" being the exception). Overall, this is a mediocre story that's vastly elevated by a strong performance by Lane. I may be biased in favor of this film because I've had a crush on Diane Lane ever since I was 11-years old and I saw her in "Six Pack" with Kenny Rogers.

Reviewed by marieltrokan 8 / 10 / 10

Morality forfeits its right to be free, so that morality can preserve its status

The importance of unimportance deserving importance, is the unimportance of importance deserving unimportance. Importance is reality. The reality of non-reality deserving reality is the non-reality of reality deserving non-reality. Non-reality is fantasy. The reality of fantasy deserving reality is the fantasy of reality deserving fantasy. The fantasy, of reality deserving fantasy is reality not deserving fantasy. Reality not deserving fantasy is reality being unworthy of fantasy. Reality being unworthy of fantasy is being worthy of fantasy. Being worthy of fantasy is not worthy of fantasy: reality being unworthy of fantasy is unworthy of fantasy. Unworthy of fantasy is not unworthy and not fantasy. Unworthy of fantasy is worthy and reality. Reality being unworthy of fantasy is worthy and reality. Worthy and reality is not reality and reality. Worthy and reality is fantasy and reality. Fantasy and reality is reality being unworthy of fantasy. Reality being unworthy of fantasy is fantasy being worthy of reality - fantasy and reality is fantasy deserving reality. Deserving reality is not deserving and not reality. Deserving reality is fantasy being wrong. The fantasy of fantasy being wrong is the reality of reality being right - the purity of reality being right. Fantasy and reality is the purity of reality being right. The purity of reality is the impurity of fantasy; the impurity of fantasy is a fantasy that's corrupt. Right and wrong is a corrupt fantasy being right. A corrupt fantasy is a corruption that's innocent. A corrupt innocence is an innocent violence. Right and wrong is innocence and violence: innocence and violence is the morality of an innocent violence. An innocent violence is the illusion of violence and the illusion of innocence. An innocent violence is the reality of innocence and the reality of violence. Innocence and violence is the morality of violence and non-violence. Violence and non-violence is the morality of violence and non- violence. Violence is incapacity. Non-violence is capacity. Capacity and incapacity are the morality of capacity and incapacity. Morality is capacity. Capacity and incapacity are the capacity of capacity and incapacity. Ability and inability create ability and inability. Impossibility creates impossibility - possibility doesn't create possibility. The status of morality is preserved, because the privilege of freedom has been restricted to immorality. Morality beats immorality because morality has forfeited its right to freedom

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