Mixed or average reviews - based on 21 Critics

Critic score distribution:
  1. Positive: 3 out of 21
  2. Negative: 6 out of 21
  1. 38
    It never comes close to touching the audience's heart.
  2. Essentially a telenovela with cinematic pretensions, La Mujer de Mi Hermano (My Brother's Wife) is a vapid slab of soap depicting a love triangle among three remarkably uninteresting characters.
  3. Reviewed by: Kyle Smith
    Most of the movie's plot becomes obvious before you even meet the brother, 10 minutes into it. Even the sex scenes turn out to be tasteful and tame. You've seen hotter stuff on Oxygen.
  4. 25
    The movie is astonishingly simple-minded, depicting characters who obediently perform their assigned roles as adulterers, cuckolds, etc.
  5. Reviewed by: Neva Chonin
    Repressed desire! A sultry soap-opera star! Incest! Gay politics! "La Mujer de Mi Hermano" has it all. Now if it only had a decent plot.
  6. Reviewed by: Justine Elias
    An oddly unsexy melodrama in which every supposedly shocking revelation (rape, incest, homosexuality, pedophilia) is treated with the same blithe shrug of recognition. It's numbing, especially with the film's deadly serious mood.
User Score

Generally favorable reviews- based on 9 Ratings

User score distribution:
  1. Positive: 3 out of 4
  2. Negative: 0 out of 4
  1. VeronicaC
    Oct 24, 2006
    Great Movie! Love the cast, locations and everything about it....
  2. ScottB.
    Aug 28, 2006
    Absolutely beautiful to watch! A sexy class act, particularly a truly poignant comment near the end, "That's only fair." Watch it to understand.
  3. MarkB.
    May 9, 2006
    Zoe (Barbara Mori, as "la mujer"), solidly but unsatisfyingly married to wealthy, inhibited businessman Ignacio (Christian Meier, as "el Zoe (Barbara Mori, as "la mujer"), solidly but unsatisfyingly married to wealthy, inhibited businessman Ignacio (Christian Meier, as "el hermano") is tempted by his resentful, bohemian brother Gonzalo (Manolo Cardona, as "mi"), whose desire to bed his brother's wife seems stemmed as much by his long-simmering anger by Ignacio as by his lust for Barbara. This Mexican soap opera is so glossy you can practically see your reflection in it, but it's also fatally slow-moving, pompous and so drearily predictable that any reasonably aware moviegoer (say, any adult who has seen maybe thirty movies in his or her lifetime) should be at least twenty-five paces ahead of it at all times. There's a lot to be said in favor of trash that knows it's trash and revels in it(Showgirls is one of the all-time great guilty pleasures, at least until it turns irredeemably mean-spirited in the final reel, and when the 1966 Stephen Boyd-Elke Sommer-Tony Bennett classic The Oscar comes out on DVD, put me down for a copy) but PRETENTIOUS trash like this can be harder to sit through than a simultaneous root-canal job and tax audit. At least the stars make it easier by looking good and not embarrassing themselves: Cardona is suitably sulky and snotty; Mori is genuinely gorgeous (and three cheers for south-of-the-border beauties like her who don't feel the need to emulate their gringo counterparts by having to binge-and-purge after every fourth take), and I amused myself by noting how much Meier resembles Scott Bakula in certain shots and the Ted Danson of Body Heat in others. The actors are pretty much on their own, too; director Ricardo DeMontreuil seems much more suited for doing photography for Architectural Digest or Food Review or anything not actually involving people. (This could be connected to what could be a rather audacious cuisine-related visual pun that turns up after a sex scene, but the moviemakers reveal so little evidence of a sense of humor throughout the rest of the film that I'm inclined to view it as a mere accidental coincidence.) Even though I live in Phoenix AZ and get lots of Hispanic cable stations, I'm not too familiar with the telenovelas that La Mujer got its actors from, but thanks to the good folks at Something Weird Video I know more about the work of 1960's sex-and-sin writer-director Joe Sarno (the best and smartest skin-flick auteur of that decade, surpassing even Russ Meyer) whose plotting this film shares certain similarities with, except that Sarno generally set his 42nd Street grindhouse mini-epics (Passion in Hot Hollows, Sin in the Suburbs) among the lower middle class or below, thus making it easier on his goose-egg budgets. La Mujer, set mostly among the moneyed class, may havce the upper hand over Sarno on fashion-magazine visuals, but it doesn't have a fraction of Sarno's insight, intelligence or wit. Full Review »