Critic Reviews

The biggest mystery in this wannabe thriller is why such topnotch actors would sign on for such a dreary movie that amounts to a mediocre soap opera.

Approaching the film with, let's say, lowered expectations may go a long way toward appreciating what it attempts, as well as what it achieves.

The Other Man is self-conscious, overproduced, overacted Euro-marital hoo-ha.

Everything from the script to the film’s score seems stock, and echoes of past victories--Eyre’s dissection of infidelity in "Notes on a Scandal," Neeson and Linney’s chemistry in "Kinsey"--only remind you of what these talents are capable of when the stars actually align.

It hurts to see a terrific cast (including the lovely and intelligent young Irish actress Romola Garai as the couple's quietly seething daughter) squandered on such dreary filmmaking.

A movie needs to announce if it's playing games. Pulling the rug out from under a viewer is fine for whodunnits and psychological thrillers and the usual suspects. But a supposedly grown-up drama like The Other Man ought to have scruples about where it plans to take you.

Seldom has such great star power been marshaled in the service of a sillier movie than The Other Man.

Muddled little dud of a melodrama.