IMDb-BEWERTUNG
5,2/10
17.638
IHRE BEWERTUNG
Eine Frau setzt es sich zum Ziel, der neuen Frau ihres Ex-Ehemanns das Leben zur Hölle zu machen.Eine Frau setzt es sich zum Ziel, der neuen Frau ihres Ex-Ehemanns das Leben zur Hölle zu machen.Eine Frau setzt es sich zum Ziel, der neuen Frau ihres Ex-Ehemanns das Leben zur Hölle zu machen.
- Auszeichnungen
- 2 Nominierungen insgesamt
Isabella Kai
- Lily Connover
- (as Isabella Kai Rice)
Robert Wisdom
- Detective Pope
- (as Robert Ray Wisdom)
Empfohlene Bewertungen
Katherine Heigl have been one of my guilty pleasures ever since I saw her on "My Father the hero", hence she is basically the reason why I decided to give this movie a chance, after all she did performed well on other similar roles (home sweet hell) so hopes were high.
Unfortunately this movie fells down on so many clichés that just simply watching it gets painful. I am not the kind of spectator that keeps track of the movie mistakes but this movie makes it humanly impossible not to do so.
Summarizing, this movie is exactly the opposite....completely forgettable.
Unfortunately this movie fells down on so many clichés that just simply watching it gets painful. I am not the kind of spectator that keeps track of the movie mistakes but this movie makes it humanly impossible not to do so.
Summarizing, this movie is exactly the opposite....completely forgettable.
Obvious melodrama about a woman being harassed by her fiance's sociopathic ex-wife, and her own violent ex- boyfriend. Sleazy, depressing, and is pointlessly told through flashback (from six hyperbolic months earlier) for three quarters of its lazy story, before jumping ahead another six hyperbolic months for the ending.
Heigl is chilling in this, but everyone and everything else is laughable.
It was also a bit unclear when this story is taking place, as characters still have landline phones (along with cell phones) and still have the newspaper delivered to their front door.
The final " Oh, here we go again " end scene, with the grandmother, made me shout, " Oh, f*** off! " at the screen.
Heigl is chilling in this, but everyone and everything else is laughable.
It was also a bit unclear when this story is taking place, as characters still have landline phones (along with cell phones) and still have the newspaper delivered to their front door.
The final " Oh, here we go again " end scene, with the grandmother, made me shout, " Oh, f*** off! " at the screen.
To give this film only 1 or 2 stars is overly critical and not a fair rating. It's not an Oscar winner but it's entertaining and the two leading ladies give good performances. Worth a watch.
A curious note first of all: this is the first movie directed by Denise Di Novi. She's been a producer for years - I thought I had seen her name somewhere before, and then it clicked when Tim Burton came to mind (she's produced many of his best films) - but now, only now, does she step behind the camera. Why for this? Did the original director walk away or the producers couldn't find someone? It's not strange to see that this is a directorial debut, but it is odd to see that this is made by an industry professional, nay a veteran, and that it's so... bland. Unforgettable rests in an uncomfortable area: not fun enough to be a trashy/campy movie like a No Good Deed or Obsessed (perhaps Idris Elba is the x-factor?), or even like a made-for-TV Lifetime stalker thriller like Stalked by my Doctor (imagine Eric Roberts in the Katherine Heigl role!), and it's not unique or interesting enough to be good.
Actually, that's not wholly fair: Rosario Dawson, as the new lover (and soon to be fiancé) of the ex-husband of the jilted Heigl character, is quite good. It's hard for her to be anything else, and she takes a movie as middling as this as seriously as she would Sin City or Danny Boyle's Trance or whatever the case. She's here to work, while an actress like Heigl is here to be in her one quiet-but- crazy-B-word modus operondi, and Cheryl Ladd (yep, ex Charlies Angels Cheryl Ladd) is more apt for a Lifetime movie, albeit her profile is just right for this character of Heigl's mother.
We've seen this all before, even if we think the divorced angle makes it a little different (only barely, maybe), and as it involves people of mega privilege it feels distanced from a lot of our lives so the emotional immediacy will only be there for those who really stretch to feel it. It's a telegraphed story put upon a movie that somehow has the even stranger luck, speaking of people behind the camera, of being shot by Caleb Deschanel(!) Perhaps if you have less than zero things to do (or are a master at procrastination) and this pops up on a Sunday afternoon on TV it's passable. But in a theater? Well, let's just say you'll be 80% of the time dulled, maybe 19% of the time entertained in that trashy-campy way (which is not a great ratio)... and then the last 1% is a complete WTF last scene ending that made me curse the screen I was gazing.
Actually, that's not wholly fair: Rosario Dawson, as the new lover (and soon to be fiancé) of the ex-husband of the jilted Heigl character, is quite good. It's hard for her to be anything else, and she takes a movie as middling as this as seriously as she would Sin City or Danny Boyle's Trance or whatever the case. She's here to work, while an actress like Heigl is here to be in her one quiet-but- crazy-B-word modus operondi, and Cheryl Ladd (yep, ex Charlies Angels Cheryl Ladd) is more apt for a Lifetime movie, albeit her profile is just right for this character of Heigl's mother.
We've seen this all before, even if we think the divorced angle makes it a little different (only barely, maybe), and as it involves people of mega privilege it feels distanced from a lot of our lives so the emotional immediacy will only be there for those who really stretch to feel it. It's a telegraphed story put upon a movie that somehow has the even stranger luck, speaking of people behind the camera, of being shot by Caleb Deschanel(!) Perhaps if you have less than zero things to do (or are a master at procrastination) and this pops up on a Sunday afternoon on TV it's passable. But in a theater? Well, let's just say you'll be 80% of the time dulled, maybe 19% of the time entertained in that trashy-campy way (which is not a great ratio)... and then the last 1% is a complete WTF last scene ending that made me curse the screen I was gazing.
The idea of recovering from a broken relationship is one that could make a very heavy emotional movie. The deep feelings we have for one another when in love and the discovery that your partner no longer shares those feelings is lot to bear. But why explore such issues when you can just make another psycho ex movie.
They must make at least one or two of these every year. However, such films are not being made because they portray deep themes that resonate with the audience. They're being made because they're cheap and pretty much guarantee a return on investment for multi- million (sometimes billion) dollar movie studios.
With the exception of Rosario Dawson, who gives her role a better performance than it deserves, no one in this movie even attempts to do anything compelling with this material. Katherine Heigl's character seems copied and pasted from her role in Home Sweet Hell (2015). Although that cinematic experience was also a suckfest, at least it tried to be something unique. In that film's world, her role as the stuck up housewife who's willing to do anything (including murder) worked (within the established parameters). Here, she plays the same role but in a more grounded universe where you have to seriously wonder who could possibly marry such an abysmal characterization of a human being.
I could criticize the movie's pacing if it had any. Each act feels prolonged far longer than it should be with Heigl repeatedly messing with Dawson as we wait for Dawson to figure out that her fiance's ex is truly, unbelievably, Simon Legree evil. When we finally get to the third act rather than following a natural progression the movie is dragged there kicking and screaming as it allows characters to discover things not because it makes sense but because even the filmmakers finally recognized that this thing must end.
What might be worst of all is that this movie concludes with a bit of clear sequel baiting. At that point, all I could think was "sure, why not". Let's get Unforgettable 2. Hell, let's build an Unforgettable Cinematic Universe with spin-offs and team ups. In that way I hope that I can leave this particular movie's universe and be sure to never come back.
In short, if you need some painful dental work done that would be a much more entertaining expenditure of your time and money.
They must make at least one or two of these every year. However, such films are not being made because they portray deep themes that resonate with the audience. They're being made because they're cheap and pretty much guarantee a return on investment for multi- million (sometimes billion) dollar movie studios.
With the exception of Rosario Dawson, who gives her role a better performance than it deserves, no one in this movie even attempts to do anything compelling with this material. Katherine Heigl's character seems copied and pasted from her role in Home Sweet Hell (2015). Although that cinematic experience was also a suckfest, at least it tried to be something unique. In that film's world, her role as the stuck up housewife who's willing to do anything (including murder) worked (within the established parameters). Here, she plays the same role but in a more grounded universe where you have to seriously wonder who could possibly marry such an abysmal characterization of a human being.
I could criticize the movie's pacing if it had any. Each act feels prolonged far longer than it should be with Heigl repeatedly messing with Dawson as we wait for Dawson to figure out that her fiance's ex is truly, unbelievably, Simon Legree evil. When we finally get to the third act rather than following a natural progression the movie is dragged there kicking and screaming as it allows characters to discover things not because it makes sense but because even the filmmakers finally recognized that this thing must end.
What might be worst of all is that this movie concludes with a bit of clear sequel baiting. At that point, all I could think was "sure, why not". Let's get Unforgettable 2. Hell, let's build an Unforgettable Cinematic Universe with spin-offs and team ups. In that way I hope that I can leave this particular movie's universe and be sure to never come back.
In short, if you need some painful dental work done that would be a much more entertaining expenditure of your time and money.
Wusstest du schon
- WissenswertesWhen Tessa is sitting at her computer looking at her and David's wedding photos, the photos are Katherine Heigl's actual wedding photos from her marriage to Josh Kelley. This is why the photos do not show the groom's face.
- PatzerWhen Rosario Dawson's company is throwing her a going away party. There is an Indian man sitting on the couch (in the center). When the camera flips back and forth from Rosario's face to Whitney's speech the Indian man disappears and then is back sitting on the couch.
- Zitate
Tessa Connover: There. Now you're perfect. Just like Mommy.
- VerbindungenFeatured in Der Bachelor: The Women Tell All (2017)
- SoundtracksCloud
Written by Danielle Parente and Sage Atwood
Performed by Danielle Parente
Courtesy of Gravelpit Music
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Details
- Erscheinungsdatum
- Herkunftsland
- Offizielle Standorte
- Sprachen
- Auch bekannt als
- Unforgettable
- Drehorte
- Produktionsfirma
- Weitere beteiligte Unternehmen bei IMDbPro anzeigen
Box Office
- Budget
- 12.000.000 $ (geschätzt)
- Bruttoertrag in den USA und Kanada
- 11.368.012 $
- Eröffnungswochenende in den USA und in Kanada
- 4.785.431 $
- 23. Apr. 2017
- Weltweiter Bruttoertrag
- 17.768.012 $
- Laufzeit
- 1 Std. 40 Min.(100 min)
- Farbe
- Seitenverhältnis
- 1.85 : 1
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