Nikita Wannenburgh It was a decent movie, but not brilliant. Cons:It was rushed. Considering that the story actually needed quite a lot of time to make the romance realistic, timing was essential; and they didn't quite get it right. It was admittedly predictable and cheesy; with a few silly/unbelievable moments. This is Nicholas Sparks, however, and you're gonna get clichés, stereotypes, and cheese, although none pull it off so well as The Notebook; which brings me to suggesting you watch that if you want a truly beautiful, romantic film.The dialogue was bad. Nothing was profound, and nothing was incredibly heart-wrenching.Adrienne's daughter was terribly cast. Also missing was the strong mother-daughter connection that was so present in the book. In this film they lost that; making Amanda into some lame attempt at a Goth and giving her unoriginal teenage "attitude"/rebelling that was unnecessary, annoying, and emotionally bland. Pros: Having actors like Lane and Gere in the lead roles immediately raises the quality of the film. And they both shone, with good but not amazing chemistry, and solid acting. Not everyone is Ryan and Rachel with freakin' hot chemistry that burns even in the rain, but Gere and Lane are decent and experienced actors who delivered a touching love story for adults; however unrealistic some parts of the story might be. They were definitely well-matched, and, as a personal side comment, they've both aged very well. The secondary actors were very good. Scott Glenn was brilliant, and Viola Davis as delightful and vibrant as ever.

chubbydave I don't know whether to label this movie as pathetic or hilarious. When I was watching it, I thought about how pathetic is was. But then when I started to describe a scene to someone else, I just laughed out loud.The movie is nothing more than a series of scenes each developed to generate emotions within the audience. There was one scene where Richard Gere's character was leaving. He said goodbye to Diane Lame and began to drive away. Suddenly he stopped the car, got out and ran back to embrace Diane Lame before getting in the car and driving away. And that's basically what the movie consists of: over-romanticized dramatic scenes.But the movie really tanks because there is no evidence that the romance is actually developing between the characters. They met. They spent a couple of days talking about their lives. Then they did it. Then they went to a party, ate some crabs and then danced to a live band. There's nothing in the movie to explain the feelings the characters are supposedly feeling.

moonspinner55 A one-dimensional weeper. Adaptation of Nicholas Sparks' novel casts Diane Lane as a wife and mother who retreats to her friend's empty bed-and-breakfast on the coast of North Carolina after her husband has an extra-marital affair; soon after, she meets Richard Gere, a troubled doctor who has recently lost one of his patients and is facing a malpractice lawsuit. Despite these attractive players, reunited from "The Cotton Club" and "Unfaithful", there's not a single convincing moment to be found--even the stormy-romantic locale seems plastic, a computer-generated confection. The narrative has been engineered to give Lane in particular a real emotional workout: she shouts, she worries, she cries, she laughs, she gets tipsy, she dances with carefree abandon. By the time the plot mechanisms kick in, audiences have had their fill of her. As a result, the finale--weighty with tragedy--doesn't carry much resonance. ** from ****

sideshowbob210 Warning, spoilers ahead.I love, love, loved richard gere and diane lane in unfaithful. However their destined love was not believable in this movie. The whole film played out like the director was following the procedural chick flick film. Insert betrayal here, opportunity here, actors show me chemistry! Their was no real holding back of their sudden unexpected relationship/consummation. There wasn't really any chemistry. When Lane descends into catatonia over Gere's death, I could not believe that a man who spent one weekend with her and the most endearing thing he said on screen was "who takes care of you?" could elicit such devastating grief. Trust me, in real life, this would have been a "wham, bam, thank you Richard" weekend scenario. Not a "I'll pine after you forever" one. And anyone who watches romantic films has to admit the horses arriving to the amazement of diane lane in the end is so trite, so overused in all romantic films. Insert some courageous, or unbelievable scenario. Through the power of love you have made me believe! God, I sound jaded.