This story is like the shot of the passing train that keeps repeating - it's loud, but it's not going anywhere, and the moment that it's gone, you forget you ever saw it.
We Don't Live Here Anymore (2004)
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Reviews Counted:122
Fresh:79
Rotten:43
Average Rating:6.4/10
Consensus: A potent portrait of two couples with broken marriages.
Theatrical Release:Aug 13, 2004 Limited
Box Office: $1,904,214
Synopsis: Based on two works by Andre Dubus, WE DON'T LIVE HERE ANYMORE is a sexy and provocative drama about married life and its discontents. Keenly observed, the film charts the amorous affair of a... Based on two works by Andre Dubus, WE DON'T LIVE HERE ANYMORE is a sexy and provocative drama about married life and its discontents. Keenly observed, the film charts the amorous affair of a married man with his best friend’s wife and how their liaison upsets the delicate balance of relationships, culminating in a fling between their spouses. Unfolding from four alternating viewpoints, the story captures the paradoxical actions of loving parents determined to save marriages they secretly long to escape, as the couples struggle through their emotional and sexual entanglement. With a wry, knowing humor, WE DON’T LIVE HERE ANYMORE reveals the perverse logic of infidelity -- and the complicity, denial and occasional cruelty that can accompany it. College instructors in a small university town, Jack Linden and Hank Evans have an easygoing friendship involving runs between classes and drinks at the pub after work. Jack’s wife Terry is best friends with Hank’s Edith, and the four have dinner parties where, once the kids have gone to bed, the wine flows freely and the record collection is in constant rotation. But the Evanses and the Lindens are not the happy couples they appear to be. For Jack and Terry, the everyday tribulations of being parents of young children trying to make ends meet have taken their toll on the once passionate couple. And Hank, a self-absorbed writer at heart, is fond of his daughter and family life, but not all that interested in monogamy, it turns out. Trying to find a way to make her marriage work under the new circumstances, Edith turns to Jack for comfort. What begins as a playfully lascivious affair erupts into a season of infidelity, leaving all four to sift through the emotional wreckage to find their way home. -- © Warner Independent Pictures [More]
Starring: Mark Ruffalo, Naomi Watts, Peter Krause, Laura Dern
Starring: Mark Ruffalo, Naomi Watts, Peter Krause, Laura Dern
Director: John Curran
Director: John Curran
Screenwriter: Larry Gross
Producer: Harvey Kahn, Jonas Goodman, Naomi Watts
Composer: Michael Convertino
Studio: Warner Independent
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Release:
Dec 14, 2004
Reviews for We Don't Live Here Anymore
Dramatically slack, the story isn't driven by plot so much as by the slow revelation of character.
Ruffalo, Watts and especially Dern are splendid, but Krause lets Clark down with a performance that feels analyzed rather than lived.
Much credit goes to the film's four stars, as well as to Curran, who chose them and skillfully directed them.
An intricate drama that derives tragedy from emotional indifference, immaturity and fatigue, qualities that have spelled doom for more than a few marriages.
We Don't Live Here Anymore manages to get at some difficult truths ... but there's a certain distance to it that prevents it from being a truly heart-wrenching film.
It could have pulled back the rock to reveal the squirmy things living underneath, but instead all we get is the rock.
Scene by scene, the movie is precise, vibrant, and, for all its turmoil, moving.
Based on two John Irving shorts John Curran's movie feels divided with a condensed narrative that doesn't do justice to the four main characters.**
Somewhere between John Updike and "Knott's Landing," this is suburban angst and adultery, with meaningful glances, inexpressible longing, fumbled groping, and hangovers.
A terrific performance by Laura Dern is the sole reason to see this pretentious slog through the miserable lives of unlikable people.
The four principals are spectacular here, led by Dern's career best effort.
A highly charged, poignant study of the imperfections within human nature and the frailty of otherwise powerful love relationships.
The key problem of this acting exercise is that we can sense what must come, and sadly it does.
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