Metascore
41

Mixed or average reviews - based on 21 Critics What's this?

User Score
7.4

Generally favorable reviews- based on 9 Ratings

Your Score
0 out of 10
Rate this:
  • 10
  • 9
  • 8
  • 7
  • 6
  • 5
  • 4
  • 3
  • 2
  • 1
  • 0
  • 0
  • Starring: , ,
  • Summary: After almost ten years of marriage, the stunningly attractive Zoe (Mori) realizes that her marriage to Ignacio (Meier) no longer carries the passion and spark it once had. Emotionally adrift, she is left to search for those sensations once again, and soon finds herself seduced into the arms of Gonzalo (Cardona), her husband's brother. At first, Zoe becomes reinvigorated by the romance. But her decision soon launches a series of events that drives these three people through a gauntlet of revenge, secret and despair that will unravel them all. (Lionsgate) Expand
Score distribution:
  1. Positive: 3 out of 21
  2. Negative: 6 out of 21
  1. As pared down, stylish and deceptively simple as the stark glass and concrete block inhabited by two of its main characters, La Mujer de Mi Hermano (My Brother's Wife) is an adultery drama that skips the big life lessons in favor of observing the mysteries of human interdependency and social behavior.
  2. Reviewed by: Michael Phillips
    63
    Some movies sell and you don't know why. With La Mujer de mi Hermano, a big-screen romantic drama with the aura of a nicely steamed telenovela, you know why: because the three stars look good in plush white bathrobes, that's why.
  3. Mexican soap opera star Bárbara Mori may be the most beautiful woman to grace an American screen this year, and female viewers may feel similarly about her male co-stars Christian Meier and Manolo Cardona. But a telenovela with three gorgeous actors is still a telenovela.
  4. Reviewed by: Peter Debruge
    40
    Soapy melodrama and a small-screen cast undermine the first-time director's efforts.
  5. The characters never come across as anything more than self-interested parties. It’s hard to have a rooting interest in any of their fates, and even less in the outcome of this movie.
  6. Reviewed by: Melissa Levine
    40
    Part of La Mujer's problem is its pace: Everything happens so slowly, and so meaningfully, that we see it coming for miles. Also, none of the three principals is remotely likable until the end.
  7. Reviewed by: Justine Elias
    25
    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.

See all 21 Critic Reviews

Score distribution:
  1. Positive: 3 out of 4
  2. Negative: 0 out of 4
  1. VeronicaC
    Oct 24, 2006
    10
    Great Movie! Love the cast, locations and everything about it....
  2. ScottB.
    Aug 28, 2006
    8
    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. Cipora
    Apr 21, 2006
    7
    I'm glad I didn't check out Metacritic before deciding, on a whim, to watch this movie. I agree with the critics much of the time, but they got it wrong on this one. The movie is beautiful and extremely watchable; it pulls you in despite the fact that it takes place, primarily, in only three settings. The story is engaging and not unnecessarily complex, and the issues are real, whether or not you are stunningly good-looking and wealthy, as these characters are. Do not dicount the actors' looks, sophisticated, minimalistic wardrobes and breathtakingly modern home, all of which contribute to the movie's feel. Definitely recommended. Expand
  4. MarkB.
    May 9, 2006
    4
    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. Expand