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Common terms associated with movies about infidelity would be "lust," "passion" and "betrayal," yet all those things are suspiciously absent from Sarah Polley's infidelity drama, "Take This Waltz." Her film is about as anti-soap opera as you can get — careful to avoid melodrama and dedicated to sidestepping any and all conventional depictions of adult relationships in film.

It seems odd to call Polley bold for showing it like it is, the way that she drags us through the head of her main character, Margot (Michelle Williams), who so undeniably loves her husband, Lou (Seth Rogen), yet cannot deny her feelings for Daniel (Luke Kirby), a man she meets while away for work who turns out to be her neighbor. However, when it comes to filmmaking, anything that deviates from Hollywood reality can make an audience uncomfortable, so it takes some guts to ignore that filmmaking impulse.

Consequently, a good chunk of viewers will be turned off or frustrated by "Take This Waltz," losing patience with the inaction of its characters and pulling their hair out over the tension oozing out of the most casual character interactions. Yes, "Take This Waltz" can be so uneventful that it verges on pointless, but in time Polley's intentions become very clear.

As Margot and Daniel get closer, they don't really get closer, and as Margot and Lou drift apart, they actually come off as in love as they've ever been. For much of the film, it's in Margot's head that the cheating is actually happening. Her thoughts and actions are not in sync and it becomes extremely difficult for us to find empathy for her because we feel as though she needs to act on her feelings, to either voice her displeasure to Lou or throw herself at Daniel. That's the Hollywood impulse calling.

Polley continues to resist, and as challenging as it becomes to watch at times, her film comes out better for sticking to its convictions. As she clearly intended, a switch flips in a scene in which Margot and Daniel ride an indoor Scrambler as "Video Killed the Radio Star" plays, an in the loopy chaos of the scene, we (and Margot) find a certain clarity in understanding what's going on between the main characters.

There's a definite phantasmagoria to Polley's style as well that while visually engaging contrasts a bit with what's otherwise such a nuanced, completely believable film. Several scenes play out like dream sequences, but we later can confirm they actually happened. She seems quite content to toy with our expectations and challenge what we think we know to be true about how love works.

You couldn't cast a better actress than Williams with a performance that's so hard to pull off. We only identify with Margot because we see her humanity, but it's tough to understand her and in some cases even like as a third-party observer of her story. Williams should be lauded for volunteering for this experiment and selling it as well as she does, especially when you consider that Kirby is a total unknown and Rogen is a poster child for modern comedy, for formulaic comedies that are such a far cry from "Take This Waltz."

The end of the movie is bound to bother a lot of people, while others will be intrigued at the choice and make peace with what Polley has to say because she frankly makes a good argument. Fidelity gets such a black-and-white portrayal in film and television, though maybe that's a societal thing because of its prominence in religious code. Nevertheless, she utilizes every tool at her disposal to present the gray area that we so quickly jump to deny and shudder to embrace.

It's tough to really enjoy a film that doesn't emotionally click, in which we don't feel with our hearts that things should've turned out how they did, but Polley has such a beautiful directorial style and conveys her intentions so clearly that "Take This Waltz" warrants a certain degree of respect for its bold yet so honest and impressively perceptive take on love.

~Steven C

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Sarah Polley proves her impressive directorial and screen writing debut, 2006's "Away from Her" starring a luminous, Oscar-nominated Julie Christie as an Alzheimer's patient, was no fluke with this incisive look at a most inchoate love triangle. With a title taken from Leonard Cohen's cultish song, this clear-eyed yet melancholic 2012 drama once again showcases Polley's prodigious acumen in capturing the complexity of adult relationships without casting blame or judgment on the parties involved. The focal point of the triangle is 28-year-old Margot, an aspiring writer from Toronto on an assignment in Nova Scotia to write the copy for a travel brochure on historic Louisbourg. There she meets Daniel, also from Toronto where he is a struggling artist and a rickshaw driver. An attraction is almost immediate but not consummated. When they fly home on the same plane, Margot discovers he lives just across the street from her, which complicates matters since she's been married for five years to Lou, a cookbook author specializing in chicken dishes. Their marriage is comfortable, and their interactions reflect a lived-in familiarity marked by cute practical jokes and quirky riffs of humor.

But what Margot sees in Daniel is something that's been missing in her life, a sexual spark that excites her, even though she dares not act upon it since she really does love Lou in spite of his foibles - including a certain apathy about their relationship that he thinks is perfectly normal. She could see spending the rest of her life with Lou, but she wonders if he is her soul-mate or whether it's worth the risk to find out if Daniel is really the one. Blinded by desires she had yet to tap in her marriage, Margot knows if she acts upon those feelings, there will come some point where she'll have to make a hard decision between Lou and Daniel. Michelle Williams captures Margot's inner conflict with palpable empathy as you see her character expose her thoughts in moments of quiet in which she is the harshest judge of her actions. It's a shining performance which compares favorably to her evocative Marilyn Monroe in "My Week with Marilyn". There is a deliberate vagueness to the two men. As Daniel, Luke Kirby ("Mambo Italiano") manages to convey the lure of "the other man" without coming across as despicable even though it's clear he wants her from afar. At the same time, it's clear that Margot and Daniel have little in common, and they make you wonder how sustainable their relationship could be.

Seth Rogen does something surprising in this film – he acts. He still doesn't stray that far away from his shaggy-dog comic persona, but he realistically shows how Lou's contentment and impassivity bring Margot both lasting security and unresolvable fear and longing. Similarly, Sarah Silverman makes her few scenes count as Lou's plainspoken sister Geraldine, who is married with two kids and an alcoholic just out of rehab, especially when she tells Margot what she thinks of her ultimate decision. That Polley can coax such fine dramatic work from Rogen and Silverman is a credit to her growing confidence as a filmmaker. As a native Canadian, she also presents Toronto as a setting with its own unique identity (versus other directors who use it as a double for New York or Chicago), and her cinematographer Luc Montpellier brings a lushness to the images that adds to the intoxication Margot is feeling. There are still flaws – the ramshackle pace adds to an already lengthy 116-minute running time, and the climactic time-lapse montage feels out- of-place for a film that had tread so lightly before. Regardless, this film should play on a double bill with David Lean's "Brief Encounter" to show how mores have evolved about infidelity over seventy years. Whatever the outcome may be, the bottom line is that there are no easy answers.

This film shouldn't work nearly as well as it does. Take This Waltz centres around a two-suitors plot that was tired a century ago, takes place in a hipster-utopia version of Toronto, has multiple comedic actors who've worn out their welcome doing Serious Roles, and its characters are either selfish or dull. But Take This Waltz also has a kind of magic that can wash over the most jaded cinema viewer and make you forget that you've seen it all before.

Maybe it's Sarah Polley's direction, or maybe it's the brilliant performance of Michelle Williams that makes her character likable against all odds. Maybe the thematic statement about the perils of looking for adventure and the need for constant romance is something that we need affirmed more often against the tide of romcoms and gooey melodramas. Maybe it's just that I really want to live in hipster- utopia-Toronto. But this film stuck with me for days afterwards, its scenes playing over and over in my mind, blotting out all the rest of the disposable entertainment. There are so many indelible images here: a public shower scene which plays pranks on the male gaze, that goofy but somehow powerful 360-degree-rotation montage, and of course the final scene, a coda that grants its central character and us along with her a moment of unmediated joy. And it's that joy that the film understands as being something we maybe have to pursue no matter what its cost. Michelle Williams' abashed smile gives us a taste of that adventure, and like the rest of the movie, it's damn hard to resist.

Margot (Michelle Williams) meets Daniel (Luke Kirby) on a plane ride home. They hit it off and then they realize that they are actually neighbors. She finds him intriguing and rethinks her bland marriage to Lou (Seth Rogen). Sarah Silverman plays Margot's friend Geraldine.

Writer/director Sarah Polley is trying to dive into the emotions of cheating. And it feels manufactured. There is something artificial about the attraction between Margot and Daniel. There is just not enough chemistry between the two. Seth Rogen puts in a nice piece of work. It helps that he has the most compelling scene in the movie. (water in the shower, I'll say no more) Michelle Williams has done this character before, and she does it well. She's the magnificent beauty who doesn't know herself. I have to put this down as a minor sophomore jinx for Sarah Polley after 'Away from Her'. Not too bad but I expect bigger and better things to come.

This movie was hauntingly real--subtle in its slow approach to the climax and it stays with you long after you have left the theater. All of the actors are wonderful and capturing the nuances of their characters. Sarah Polley does it again. The story, set in Toronto, captures the everyday life of Margot and Lou--and depicts their special relationship through the details of their special ways of communicating. It is not until the complexities of Margot's struggle between her love for Lou and her unyielding attraction to her neighbour, that you start to feel her personal struggle. The inevitable ending does not disappoint. Highly recommended.

OK it's not as bad as all that -- it is sort-of OK -- but I had to say it. I'm probably not the first.

This is basically a short film on infidelity, dragged out to a couple of hours. It's not terrible, but it's also not good.

The film has its good points, of course. I found the cinematography to be great, for example. Particularly the shots in and around water were very effective, and showcase the use of film to communicate without words. But the fact that I'm noticing the cinematography first tells you that the story isn't really there.

I thought the acting was believable. Everyone performed well in their roles, as far as I can tell. Seth, Luke, and Michelle were good choices for the triangle. That said, I am confused about casting not just one but two popular comedians against type. It made me question what I was supposed to be seeing. I'm not sure I figured it out.

For me I attribute the problems to editing and writing.

The story didn't provide anyone for me to root for, identify with, or even hate. I didn't really care for any of the characters. I like these actors, but I found these characters annoying to varying degrees, but not so annoying as to be detestable. I just didn't wish to spend any more time with any of them than I had to. Perhaps if I could recognize in them any motivation for their actions (or lack thereof) it might be different. I compare this with The Postman Always Rings Twice, where understandable things happen, and lead to a more satisfying (but too preachy-perfect) ending.

The long silences here are not deep and meaningful. They're just long. I figure the film could be cut by half an hour, and not lose much beyond silence or small talk. In fact, even the end could be lopped off. There were several points where I thought it was over, but it kept going. What's odd is that there are some scenes where random half-second cuts are made, music-video-style, but real cuts to speed it along aren't made. I'm certain you could cut another hour or so and turn it into a really great short. There's nothing wrong with that, if telling the story with emotion is the goal.

The tie-in to Leonard Cohen's song seemed forced. I cringed. When I think about that scene, it feels to me like someone decided we needed a cryptic song by a Canadian poet to name the film after. I don't feel that any of the characters in the film are devoted Leonard Cohen fans.

Overall, I wouldn't recommend this film, but neither would I say to avoid it. It will surely be on the The Movie Network (among others) in Canada, since they apparently helped pay for it. The best place to see it is therefore probably cable or satellite.

'I'm afraid of being in-between of things.' That's a beautiful line quoted by Margo from a film called 'Take this waltz'. Attracted by the title which reminded me of Leonard Cohen's song which turned out to be the same source at the first place, also the cast especially Michelle Williams that I find quite special, special in a way that her appearance seems to be fragrant because of how she looks like. I somehow believed that the character resembles a lot with her in real life. We all know her divorced co-star husband Heath Ledger died of an overdose accident, and they have a daughter named Mathilda. After his death she somehow emerges into a characterized actress. You can see her playing depressed wife, Marilyn Monroe, and this confused in-house freelance writer not knowing what to write about. It's all very well chosen with her characters. When I see the way she read out the lines, in a naturally performed way, there's a kind of magic and it must be coming from all what she experienced. Of course every actor's acting style comes from their own life and experience. Yet Michelle has this very sincere attitude of not disguising what went through in her spiritually and physically. Her nudity is not difficult to be found. Although a mother to daughter, her figure remains like a maid, pure and simple. It seems like having a child brings her nothing but growth, growth of innocence and courage of showing the real self inside of her.

The film involves a freelance writer Margo who married to a cookbook author and they enjoyed leisure house life on a Portugal region in Toronto, Canada. The couple is happily engaged with their friends and natives. Parties are thrown every now and then. They sometimes argue, but generally leading a sweet and contented marriage till she encounters with a handsome guy at a tourism site. The magic connection drew on these two strangers. They both found each other very strangely familiar. And right at the first conversation they felt natural enough to joke each other and explain one's inner feelings. Together they make a couple of innocent child embarking on an intuitive sight of the world sparkling only in their eyes. It's fun and haunting, especially when it's found they're only neighbors across from street.

Yet the thrill of encounter only keeps in a very cautious way, which makes it all the more alluring. They interact in an extremely explicit and intimate verbal way to displace physical attraction. Imaginary stroking, kissing and intercourse touched their mind with fulfilled excitement. Every morning she followed him or vice versa to the beach, cafés and the swimming pool, where they swim like dolphins, getting near and dodging away. When he attempted to grab her ankle, the moment suddenly halted and she just left like that. She felt like the spell will be broken once the intimacy takes off to a further step. And she's still guarding herself from the fear of casting herself in the craziness of love affair.

Ten minutes into the movie, Michelle Williams confides in her airplane seat mate, "I'm afraid of being afraid." It only goes downhill from there.

I don't know how the actors can deliver this horrendous dialogue without hating themselves. Even Sarah Silverman sucked in this movie. It does take a very special script and/or director to make her intolerable.

There are literally no redeeming factors in this movie. Every line, every character interaction, and every sex scene is cringe-worthy.

Sarah Polley, you owe me ten bucks and two hours of my life.

An emotionally rough love story that takes you to a series of awkward and tough moments. The Toronto setup is refrsshing compared to typical New York that you expect the movie to happen. The cast is solid, it's just that you never feel real good for any of them throughout the movie.

Michelle Williams seems to phone this one in...but her phoning it in is still twice as interesting and charming as what most actresses are capable of. The problem with this movie is that the it doesn't feel genuine or emotionally deep even though it's dealing with very thorny and adult concepts and themes. And the actors, all good in other films, disappoint in a big way here So the result is that the viewer feels a bit taken advantage of. The story is basically an early life crisis. Michelle Williams is torn between the men in her life and must choose. Cliché, yes, but let's face it...most people have gone through a similar situation. But she floats through it with so little feeling that its hard for us to feel either. On to the positive. The movie looks handsome, if a little bland, and has a nice hot summer feel to it. Seth Rogen proves once again that he can be a very solid dramatic actor when he needs to be. And even though the movie doesn't work, at least it tried to do something with emotional resonance.

I watched this film at it's premiere last night and found it quite entertaining and insightful. This was a film about the path that Margot's (Michelle Williams) emotions take as she struggles with the question of fulfilling the parts of her marriage that are missing through infidelity. Michelle gives a very inspiring performance as her character progresses....completely letting the audience in on every facet of her internal struggle and the toll it takes on her. There are times when you empathize and root for her, and times when you shake your head and wonder why she can't see what the audience sees.

Seth Rogen is surprisingly effective in his role as the geeky, but loving husband. I found myself constantly rooting for him. He did a great job of making his character imperfect but likable, but most importantly, believable.

Sarah Silverman delivered nicely in her role, especially near the end of the film. If there was a weak link, it was Luke Kirby, who never seemed to show much emotion at all, in a role where there was such potential for it.

Sarah Polley's writing and directing was excellent, although the pacing was at times a bit erratic. She managed to really capture what life is really like at times, without going over the top. By celebrating the little joys in life, she garnered sympathy for the main characters and the situations that developed, without forcing it. She also showed Toronto off very nicely, which was a bonus.

In all, if you're into character driven films, this is a very good one. The best part of it all, though, is Michelle Williams performance.

Unlike Wes Anderson's Moonrise Kingdom, a film that raises quirkiness to the level of art, Take This Waltz, the latest Indie film from Canadian director Sarah Polley (Away From Her), is over-constructed and contrived, obscuring whatever value its message may contain. Married to cookbook writer Lou (Seth Rogan), Margot (Michelle Williams), a prospective writer, shows no outward signs of being dissatisfied. Her relationship is filled with playful baby talk, tongue-in-cheek insults, and Lou's daily ritual of pouring cold water over Margot's head when she's taking a shower. When Margot meets Daniel (Luke Kirby) at Cape Breton's Fortress of Louisbourg, however, she begins to sense the emptiness in her marriage.

Unfortunately, several "chance encounters" at the outset strain credibility. Margot and Daniel just happen to be seated next to each other on the plane coming home and discover that they actually live right across the street. Margot tells Daniel that she's afraid of airports because she has "a problem making connections" (note the symbolism). Actually she says that she is just afraid of being afraid. Sounds like someone should have told her "You have nothing to fear but fear itself." We soon learn that Daniel is a bohemian artist who supports himself by driving a rickshaw (you heard right) on the streets of Toronto, while inexplicably living in a fancy loft in a middle class neighborhood.

We all know that his work must be very competitive because the streets of Toronto are just filled with rickshaws. Margot feels a sense of excitement that has been missing from her life, and, in the first throes of their attraction, they visit Toronto's Centre Island, and enjoy the Scrambler Ride to the pulsating rhythms of the 1979 hit "Video Killed the Radio Star" (a song repeated at the end in a different context). They also tease each other with descriptions of the sex they'd like to have, but never follow through and their relationship feels as ambivalent as that of Margot and Lou.

Margot is obviously looking for something but is so confused that she never stops to examine exactly what that something really is. There is no aliveness in any of the film's characters, with the possible exception of Lou's sister (Sarah Silverman), a recovering alcoholic who speaks her mind. The main protagonists never connect to anything outside of themselves and the dialogue is too glib to produce any genuine caring in the viewer. To its credit, however, Take This Waltz has style, excellent cinematography, wonderful music that includes an excellent tracking shot of the two lovers dancing to the Leonard Cohen song "Take This Waltz" and, of course, it has Michelle Williams.

Williams is terrific, as always, though here her character is drawn in such an uninteresting way that there is little humanity and emotion that we can relate to. Take This Waltz has a legitimate message about not being grounded in a stable and secure sense of self and some critics have hailed the film as an example of Margot's "voyage of self-discovery." The voyage, however, does not include talking about her relationship with her partner or with a marriage counselor, or even giving some thought to the vows and commitments she made. When Margot goes to a pool exercise class with some friends, they have a discussion of relationships in the showers. "New is shiny," says one of the women. "New gets old," someone interjects. New gets old very quickly in Take This Waltz.

Take This Waltz is a rather sweet, very nuanced film. Sarah Polley has some great talent in both screen writing and directing, and her effort here is... both a success and failure. It's a very gentle, very fragile film, one where all of the spoken dialogue is said with such precision and emotional truth and one in which the characters feel unwilling to reveal themselves completely. I appreciated it's tone, optimistic, but very melancholic. At times, it left me in a sort of trance. But it's not great simply because I found it too self-conscious at times. It has its great moments that ring true, but also moments in which it just feels like an exercise to be "sweet" and "subtle". The characters are not all as interesting as I would hope for. After the film's first act, I felt like the film had nowhere to go, and instead it kept going in circles. Still, it was involving for what it was.

The performances here are what is excellent. Although the characters do bring you into the story, they also really make you think twice about their flawed developments and overall writing. But the actors all give it their best. Michelle Williams is slowly becoming one of my favorite actresses, and while she is great in the role, I can't help but feel like it's something that she has already done in much more interesting ways. I love Williams, but I do hope that she starts to branch out in different ways and not just go for these type of roles. Rogen shows a real gracefulness and maturity that we haven't seen from him before, and he makes the most of his character definitely. Not a ground-breaking performance, but one that will make you appreciate him more as a dramatic actor. Kirby is also mysterious but also very appealing and seductive in his own way.

I would say that this is a failure in many ways, but also a film that I could still slightly recommend. I don't think it's anything original or even anything special, although it has its moments where it truly soars. I actually think that while Polley showed a different kind of directorial style, this is not as good as Away From Her. For Williams fans, check it out. She is great, but it feels like such an obvious role for her, and her performance, her mannerisms, all feel recycled. It leaves me torn because as an exercise in acting, she does more with the role than Polley did with her writing, but at the same time it can't hep but feel uninspired. The last 10 minutes however, are better than the rest of the film, and I do greatly admire what Polley did with this ending.

On my first viewing of Take This Waltz, after the film was over, I said in confidence and self assuredness to the people I went to see the film with, that I did not like it. However a strange thing happened. I saw the film and was unable to write my review of it until now and in that delay of time I started thinking of the film more and more and it seemed to resonate and stay with me and there were certain scenes and just whole issues, or ideals that were brought up during the film that I gave second thought to and reconsidered. Having written my review of Take This Waltz, immediately after watching it, I would have probably have given it a rating of 6 out of 10, but as I have thought and pondered over the characters and meaning of the film and just how it makes more sense to me now and in a sense has also grown on me, I now give the film my definitive rating of 8 out of 10. On first viewing there were some things I really liked about the film such as the interesting yet hauntingly beautiful colour contrast to the homes, interiors of the homes and even what the characters wore. It gave the film a distinct look and I admired it for that. I also appreciated that we could have a serious film about people in their 20's with no use whatsoever of cell phones, the internet, or any type of social media devices. It just felt more real having not used those things and avoided being too commercial as well. The one thing that I think really got me about the first viewing of the film was how I really did not like the main character Margot, played by Michelle Williams. I found it very irritating and awkward to the point of being irritating. She didn't seem to know how to act, or behave in certain situations and when she did speak, or try to live her dreams of fantasies it all just felt and looked terribly awkward and clumsy. Take for example her baby talk with her husband, Lou. It seemed so childish and really grated on my nerves. Also the fact that she was so indecisive about everything as well. Also on first viewing I felt that perhaps not all of the characters were as developed as they could have been and overall at the end of the film I think I got what director/writer Sarah Polley was trying to say, but at that point I was not interested anymore and I did not care either. Having thought about the film for a few days I came to realize that Michelle Williams' character Margot, is not as annoying, or irritating as she once seemed and even if she is a little bit, I could now understand why. I think the point was to show a character such as Margot, who is really indecisive about life and the choices that she makes and also shows how insecure and unhappy she is. I think Margot, was really stuck in a situation that became routine and comfortable for her, but she is a restless character always wondering if there is something new and better for her elsewhere. I think Margot's awkwardness as well as nervousness shows because of how insecure and uncomfortable with life and making decisions is hard for her. She wants to do what is right, but not destroy everything she has at the same time. It also lead me to think that I have known women like Margot, and they behaved in a similar such manner as she does in the film and for the exact same reasons that I mentioned above. It is not necessarily a character flaw, but perhaps just a weakness and a stumbling block that one needs to work on. The other characters later on seemed more well developed than on first glance and the film certainly does give a lot of food for thought. I literally spent days afterwards thinking about this film and some of the powerful and heartbreaking images in it. The film is a fairly depressing watch in a lot of ways, but I could respect that about the film because any film dealing with such subject matter, should be serious and take their character's feelings and emotions to heart and all that is here. The film does still have some flaws with it's pacing and there are times where it gets swept up in it's melancholy and it can tend to drag a little bit, but there is still enough rewarding things on display here to be worth a watch, even if you have to think about the film a couple days after you watch it, or even have repeat viewings. Brave viewers should give the film a chance and think about what it says about loneliness, relationships and the myths we sometimes promise ourselves, but ultimately lie to each other and ourselves about. An intelligent and deeply thought out film worthy of an 8 out of 10 rating and not just a 6.

Margot (Michelle Williams) is a writer for travel and amusement brochures. She meets Daniel (Luke Kirby) at a medieval-era recreation site. There is sexual tension from the start as he encourages her to whip (harder!) a shackled "prisoner" at a staged public humiliation.

As fate (or, the screenplay) would have it, they share an airplane row, a taxi cab, and a street address back home in Toronto. It's not until the moment their cab reaches her house that the flirting ends and Margot informs Daniel, suddenly and reluctantly, of her 5 year matrimony to Lou (Seth Rogen). As she watches him enter his house (literally across the street) she lets out a deep sigh. She can see the whole story to come, and knows how it will end.

Because, that is just the type of person Margot is. Devoid of any direction, dependent on sex-as-self esteem, and unconcerned with the lives and needs of others around her. We can all be like that, sometimes, however.

Her relationship with Lou is chummy. They play pranks on each other, wrestle, and express love with statements of hyperbolic violence ("I just got a new melon-baller and want to gouge your eyes out"). She wants passionate sex free of baby-talk, but he seems uninterested or unable. They're very settled in. He writes cook books and has mouthwatering chicken dishes in the oven every night. He's a decent man, treats her great and obviously loves her.

She makes a point of seeing Daniel, who paints well and pulls a rickshaw for money (judging by his apartment, he apparently makes an absolute killing) She starts leaving the house at the same time he does. He appears at her pool aerobics. They end up at a bar. He talks dirty to her. She's into it, but always leaves suddenly before anything physical can occur. She can't cheat. At least, not while she and Lou are together. She'll see what she can do about that.

Michele Williams is a superb actress. Some deep emotions and sticky themes manage to creep up from the shallow surface, but overall the tone is overly serious, petty and slight, much like the character of Margot herself.