The Other Woman (2011)
Critic Consensus: Natalie Portman and Lisa Kudrow deliver fine performances in The Other Woman, but they're muted by Don Roos' clumsy direction and cluttered, melodramatic script.
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Critic Reviews for The Other Woman
It's a kind of unofficial sequel or sibling, three decades later, to Robert Benton's Oscar-winning Kramer vs. Kramer.
One of the bigger challenges in Natalie Portman's career, and she responds with sublime work.
Soap opera for the bourgeoisie, The Other Woman is the kind of movie Lifetime audiences would gush over as sensitive and wise.
Natalie Portman may have the black swan and the white swan down, but she's still working on the gray.
Audience Reviews for The Other Woman
The movie is interesting, well acted and realistic. That makes it a better-than-average movie.
It would have been easy to make a melodrama with this subject and the sort of unexpected revelation that comes up in the third act, but Roos avoids that and delivers this emotionally complex film devoid of villains and lifted by two excellent performances by Natalie Portman and Lisa Kudrow.
A new wife struggles to find her place in the husband/wife/son-from-a-previous-marriage dynamic as she mourns the death of her newborn. Natalie Portman was once one of film's rising stars, but now she chooses some of the worst projects, and this one is even worse than No Strings Attached; I didn't even waste my time on Your Highness. The film front-loads a ton of exposition, and then the rest of the film is spent with characters spouting bullshit pop psychology at and about Emilia. She becomes the project of the film -- characters trying to figure her out -- but she's never an interesting character. The third act's engine is a suspicion about the child's death, and this plot line comes out of the walls, but by the time this film pulls that shit out its ass, I ceased believing that I would ever start caring about these characters. Overall, Natalie Portman's career choices were so much better at the beginning.