Published on June 6th, 2014 | by Allan Brown
The Other Woman Review
Movie Review: The Other Woman (2014)
Running Time: 109 mins
Director: Nick Cassavetes
Writer: Melissa Stack
Cast: Cameron Diaz, Leslie Mann, Kate Upton, Nikolaj Coster-Waldau, Don Johnson, Nicki Minaj, Taylor Kinney
Carly (Cameron Diaz) is a strong independent New York City lawyer who has little time for relationships in her fast paced, career focused, elitist lifestyle. That is of course until she meets Mark (Nikolaj Coster-Waldau), the perfect man. As Mark slowly sweeps Carly of her feet, she for the first time opens her heart to the possibility that he could be the one. That is until Carly inadvertently strolls into the minefield of crushing discovery, which culminates in The Perfect Man, being The Perfect, happily married man. When Mark’s mousey, suburban housewife Kate (Leslie Mann) finds out about the affair, she confronts Carly. Through their joint anger and misery the pair form an unlikely friendship, and together – along with Mark’s latest flame, Amber (Kate Upton), hatch their plan of calculated revenge.
What starts as a meandering venture into comedic mediocrity, quickly nosedives further into the uncharted depths of desperate inadequacy. As each bland set-piece and sloppy plot device presents itself, you will quickly come to realise that there is little here to hold the attention of even the hardest of trashy rom-com fans.
Not since C3PO’s debut in 1977 have performances felt so robotic
Diaz, Mann and Waldau have all proven themselves as creditable actors throughout their careers and here with The Other Woman it could be said that they do the best with the material they have. However, this unfortunately does not sweeten the blow. Each character is built on an arbitrary stereotype that is drenched in cliché. We have Carly (Diaz) the high powered super bitch lawyer. Kate (Mann) the all American, clean living, picket fenced suburban housewife and Amber (Kate Upton), the young, curvaceous, model-esque sex symbol who is of-course as dim-witted as she is tryingly enthusiastic.
Director Nick Cassavetes seems all but absent from the film altogether. In-fact, the movie seems to meander its way to its slow but predictable conclusion without anyone at the helm at all. Set pieces go on way after the punch-line or physical gag has been delivered, resulting in frequent cringe and uncomfortably embarrassing moments – like a comedian whose act and career has just died on stage. This can also be said on the performances of the three leads, Cassavetes again seems to hold no control over the characters, allowing Mann and Diaz to battle for screen time in an array of repetition and clunky improvisation sequences.
Both Nicki Minaj and Kate Upton fair no better, as they too struggle to appear natural on-screen, churning out wooden dialogue that sounds like its being read straight from cue-cards. Not since C3PO’s debut in 1977 have performances felt so robotic. If the film wasn’t so poor the formerly mentioned would have perhaps stuck out like a sore thumb, instead, they hold little blame for what can only be described as one of the most dull and undercooked films of the year.
Summary: And so, a new form of torture is born. With it’s Lazy writing, cardboard characters and the cheapest of cheap humour, even the inclusion of Kate Upton isn't enough to fill the gaping hole in its cinematic heart. A true test of patience in a film that tries to hard to be funny.