The movie may leave its audience feeling a little battered ... Still, the film's honesty, along with its refusal to pander to Hollywood happy endings, is well worth the beating.
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
These are people whose disappointments and emotional struggle have produced a world of resentment and dishonesty that's unpleasant to visit. There's nothing to make us want to stay there and witness the hurts produced by excruciatingly selfish acts.
Usually American marital problems are left to the soap operas; it's nice to see them tackled by experts, piercing personas and peeling open hearts.
A movie as empty as its title. A lot of good acting is going on, but there's nobody home.
We Don't Live Here Anymore frames with precision emotional moments in the lives of people who build their own prisons and, over time, plot escapes.
...feels like a freshly unearthed treasure from a more sophisticated era. All lingering glances and electrically supercharged silences, it's a tiny film of enormous power.
Well acted and designed of a piece [but] too diffident and emotionally murky to elicit a sustained reaction. The movie could have benefited from a more proactive script.
With a hungry, compulsive, tender, angry, and passionate performance, Ruffalo has definitely shed the shiftless stoner typecast.
A sense of unease, of incompleteness, is, I think, the appropriate response to this movie. Instead of trying to fill in the blanks, Curran and Gross leave things open and ambiguous. Just like life.
The revelation here is Dern, whose fierce, intensely moving portrayal of a woman struggling to hold on to what she cares about is the movie’s most urgent anchor of sympathy.
Annoying and familiar, the adults settle into sameness, as if too tired to imagine beyond it.
An impeccably acted, spiritually draining dissection of adultery in a bucolic college town.
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