An all-star cast chick flick, based on George Cukor's 1939 film of the same name.
Set in a busy pocket of Manhattan society, where the publishing, fashion and finance industries play, at the center of The Women is Mary (Meg Ryan), a thoroughly modern woman suddenly confronted with an age-old dilemma: a cheating husband. The ladies in her life swiftly rally to Mary’s side, led by her best friend, Sylvie (Annette Bening), a dynamic magazine editor. But when Sylvie betrays Mary in a Faustian bargain, the entire group is shaken to the core – and two women face the most painful breakup of all - their friendship.
There are no men to be seen in The Women. They are discussed, telephoned, and mused about but they remain off screen at all times. For a while it’s like a bad episode of The Twilight Zone, in which ladies have learned to breed amongst themselves and the chaps are now forgotten relics, whose only record of prior existence lies in moth-eaten books at the bottom of musty museum basements.
Full reviewThe Women is less about getting even than about inspiring that same mushy sense of female empowerment you might find in a Tyler Perry meller, complete with manic mood swings and full-blown diva moments.
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As a well-crafted, well-written and well-acted entertainment, it drew me in and got its job done.
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The film repeatedly sacrifices dramatic punch for political correctness.
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It’s like an alternative-reality Sex And The City with unfabulous clothes. A bad idea’s made worse by below-average execution and underwhelming performances.
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