Playing at film noir, but with a hipper swing in its step, Ira Sachs' Married Life, taking Hitchcock's Suspicion as its intellectual daddy and Freudian psychology as its grandfatherly id, should be the very epitome of dark humour, and I suppose, even with its drag-footed flaws and obvious plot twists, it is just that. Its most glaring fault being that it may be too good for its own good. Headed by a stellar cast from every corner of its squared off plot and consistantly, if not surprisingly, one-upping itself throughout, this film flows with such an evenly aspiring keel as to almost bore in its very delights.
From the tired everyman husbandry of Chris Cooper to the bored desperate housewifery of Patricia Clarkson to the lushly adorned dimpled blonde beauty of Rachel McAdams to the Cary Grant strut of Pierce Brosnan, Married Life pulses with life yet never quite makes that ever-important leap to amativeness. Perhaps more a staid parlour piece than the neo-sexual psych-out it portends to be, Married Life is nonetheless worth the time and effort one must put into watching it, if for nothing else, then the caged bellicosity of its somewhat cubist acting sciamachy. Playing at film noir, but with a hipper swing in its step, Ira Sachs' Married Life is the most fun one can have without ever noticing it. [05/11/08]