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Goodbye Lover is a thriller-comedy that keeps you watching although it's obvious the movie doesn't take itself too serious. Patricia Arquette is married to Dermot Mulroney and she has a lover, Don Johnson. She convinces John to kill her husband, but there's one problem: her husband is his brother.

The film is very predictable, with only 2-3 exceptions. All the murders come along absoultely normal and if you add a totally annoying sick-of-life cop, Ellen de Generes, and her help, a incredibly stupid guy from Salt Lake, you get as a result a not-so-great film. One thing saved the whole movie: the ending. Pretty original and not expected.

A good watch, if you're in the mood for a simple thriller. Good performances from the actors. Vote: 5 out of 10.

I wrote this comment mainly because there are so many negative reviews posted here and fewer positive ones and I think this film definitely deserves better. I liked it very much, have seen it twice, once on the big screen and just now on DVD. It was not the least bit boring the second time even though the film relies heavily on its plot twists and the suspense they produce. I think many people just don't come to terms with cross-overs, they want either a suspense film that takes itself dead serious or a clear cut comedy. I liked the humor in the film and its outrageous characters well played by a perfectly assembled cast. Patricia Arquette is just great, a pleasure to watch! She deserves the price for the funniest sociopath femme fatale ever seen on the silver screen. Vincent Gallo in his tiny role as contract killer is the icing on the cake! The film is superbly shot and directed and features a brilliant soundtrack. I voted it a 9.

The death of "Goodbye Lover" obviously came in its editing. Because watching it, you do see that hidden within the numerous layers of ridiculous bile, there was at some point, an actually coherent plot. Not to fault editor Bill Steinkamp too terribly, because while the story may be choppy and often unexplained and lacking a central arc due to the cuts made, one gets the overwhelming impression that, with or without editing, this film *stinks*.

It doesn't know whether it wants to be funny, tense, smarmy, sexy, or devious. It is literally as if the writers drew slips of paper titled "things we like about movies" from a hat and put it into the script. Director Roland Joffé (who did The Killing Fields - what happened?!) does his best, I guess, but that is not enough. The cast tries hard enough that it's only fair to warrant that it isn't their fault. But, there's nothing that could have saved this movie short of never making it.

A Goodbye can also be a Hello - not necessarily for the same person - actually quite likely not for the same person. But a Hello nonetheless. And while this dark humor filled thriller might entice and surprise you (I was, especially after the first big inciting incident, not having read anything about this) - it might run out of air after a while. I would beg to differ overall, but I can see that especially after that big shock (which some might already be aware of anyway, having read upon the movie) there seems to be a bit of downfall. And as much as I fell in love with certain characters, the ending seems a bit ... too easy. All that aside, the actors do a phenomenal job and the movie keeps the tension high throughout. And since it does have a tendancy to show you what might happen (or what some characters think should happen next), it keeps you on your toes to find out, if its true or just in the mind of the character. Very well done thriller, with a lot of "foreplay" and other erotic sidenotes, that you'll either fall for or you won't.

"Goodbye Lover" is a quite good dark comedy about -- as Jake Dunmore says quoting his brother Ben -- "Image is everything." Everything in this movie is about image, and yet nothing is at it appears. And in this respect the very context of the movie sustains the content exceedingly well: it's a beautifully shot movie -- too pretty, in fact. So pretty it's easy to miss the fetidness just beneath the surface.

Almost every shot is too shiny, too glossy, too seamless, too meticulously composed. Many scenes are suffused with those ubiquitous cinematic blues and oranges contemporary DPs and directors like so much, but raised to such a degree that it almost enters the realm of the fanciful. Many other scenes are done in hi-tech blacks, whites, and grays. Everything is window dressing -- reality is nothing more than appearance, beautifully symbolized by mirrors everywhere. Lots of mirrors, shiny surfaces, glass & windows, all reflecting everyone to everyone else, a world of appearances without substance, without soul. And when people aren't being reflected in mirrors they're being framed behind glass, a diorama for display. The world is just one big department store window.

Yet just as a structurally crumbling, termite-ridden house can be painted to look pristine and beautiful, so does this shiny veneer hide the most vicious, rapacious, cynical behavior. Indeed, the world in which this takes place may look beautiful, but it is very very empty and ugly. And as such this is a kind of morality tale that shows the dangers to a society that lives strictly for appearance.

There are few movies I can think of which so excellently explore this tense boundary between the shiny packaging, and the rancid stuff it hides. As Ben Dunmore says, "People worry that it's a dangerous and sh*tty world. And it is our job to make it look safe and clean." Thus our hero works at a PR firm, packaging a morally bankrupt politician as a wholesome, devout family man; the president of the PR firm pretends to be a holy man -- a rather inherent contradiction; our two principals work in a church that obviously serves Mammon over anything else: religion is just another accoutrement, something to accessorize the soul; and then there's the wedding chapel in Las Vegas, where an unctuous smile sells ersatz sincerity. [Sorry.] Etc. (In fact, it's surprising how many such examples of this there are in the movie -- the writers were very inventive and consistent in coming up with such a profusion of image vs substance motifs.)

The only person in this world of appearances who doesn't belong, Detective Rollins, is a "F*cking Mook" -- as his partner, Sergeant Rita Pompano (Ellen Degeneres), calls him. For him, appearance *is* reality. His sincerity is regarded with mocking disbelief by everybody: he obviously doesn't understand the rules of the game that everyone else is playing. Even we, the audience, take sides against him -- that's how subtly subversive and well presented -- even seductive -- this world is.

And speaking of Ellen Degeneres, she is great in this movie. Others complain that she isn't funny or witty, merely insulting. But in one of those delightful twists where the line between fiction and reality dissolves, this is her payback for the flack she took from the forces of christian oppression after she came out of the closet. Ellen obviously relishes this role -- she mercilessly mocks her Mormon partner, gets to be a "guy" (and, for an attractive woman, she is laudably unattractive in this role), and, at the end of the movie, looks ridiculous when she dresses in "drag".

This may also be Don Johnson's best movie. For once he gets to play the kind of character he seems uniquely equipped to play: a high-end used car salesman, all style, all flash, sexy in his way, but empty and sleazy. It's very fitting that when he says he's "trying to get something real in his life", he unknowingly gets quite the opposite. And, since he wants to leave the game, he no longer belongs in this world -- and is appropriately removed from the game.

Sometimes the symbolism is a bit heavy-handed ("Go For It" billboard), as is the writing ("You need to go down on your knees for her." "Well, someone obviously did."). But it's all in good spirits, and I'm willing to accept its blemishes (as it were) 'cause it succeeds admirably in most other respects. And the acting in general is uniformly solid -- in fact, it's very well cast, even the curiously unfatale femme fatale Patricia Arquette.

The movie ends on a wonderfully humorous note to the tune of "Climb Every Mountain" as image thoroughly triumphs over substance, much as it does in real life -- which may be the reason this movie doesn't sit well with many people.

The filmmakers obviously had fun making this movie, and it shows. All in all, it's a very well-made, fun movie -- if you scratch its surface. [8/10]