a_chinn 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.

marieltrokan 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

Jane Dough Best describe it is a low budget porno only good thing about the movie She meets a guy she screws him in a whole bunch of different places Between that she goes home and talks to the husband No real plot to the movie closest thing to a plot is after the cute guy dies Coming up with a story to out run the police after hubby dumps the body That's as close as your going to get to a plot the rest is a lot of Moaning and groaning and more moaning and groaning Just skip it your not missing much in fact your not Missing anything at all. This was a real stinker This Movie Really Stinks Yup unless your looking for cheap porno skip it

Martha Wilcox There are times when this film draws too much attention to itself with lingering shots and unnecessary camera angles. The wind blowing at the beginning is all a bit too unreal. Diane Lane is a good actress and very attractive. She abandons herself in the part and you really believe her performance. But why would she fall for this French guy? Was she not happy in her marriage? Does she have an addictive personality? I lost sympathy for her character, but that doesn't take anything away from her performance.The pacing of the film is quite slow and felt more like a television movie rather than something cinematic. I believed Richard Gere's performance when he confronts the French guy, initially holding it together, and then falling sick when he sees the gift he gave to his wife giving to the French guy as a gift. If you've ever given someone you love something, or said something intimate to them, and then heard it repeated by third parties who know all about your business, you can relate to how Gere feels at this moment. The twist of him killing the French guy is cinematic with the blood pouring down from this head.I think more should have been made of the police investigation where Lane eventually realises that Gere knows about her affair and that he is responsible for the death of the French man. This is the point when the film became interesting, but it was too near the end for it to develop. The first part of Act 2 should be contracted, whereas the last part of Act 2 should be expanded. The problem with the film is the structure of the script, not the performances.