Paynbob It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

Geraldine The story, direction, characters, and writing/dialogue is akin to taking a tranquilizer shot to the neck, but everything else was so well done.

Isbel A terrific literary drama and character piece that shows how the process of creating art can be seen differently by those doing it and those looking at it from the outside.

Francene Odetta It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

Onthethreshold To me this film is essentially your average made-for-TV production that isn't really memorable in one way or another. I'm not going to go into the acting, direction or overall plausibility of the storyline as other reviewers have except to say that this movie is basically a telling of the real life relationship between President John F. Kennedy and a Washington socialite named Mary Pinchot Meyer.Meyer had been introduced to Kennedy some years back through various acquaintances, namely Ben Bradlee of the Washington Post fame who at that time was a reporter for Newsweek magazine and Bradlee was in fact married to Mary's sister, Tony. Mary Meyer had in fact been married to a CIA operative named Cord Meyer who as portrayed in this movie was once the idealistic and now cynical and alcoholic ex-husband still looking for a chance to reunite with his wife. Mary was also indeed an exceptionally attractive woman in her day and was artistic as depicted in this film by Gretchen Mol's character. The existence of a diary detailing the nature of the relationship with Kennedy was very much real in 1963-1964 for Mary Meyer and upon her death nearly a year after Kennedy was assassinated, CIA operatives were intent on retrieving the diary for the potentially explosive information it contained not only about the affair but also on Agency operations with a view to the idea that JFK shared secrets with Meyer that may have ultimately resulted in his assassination.The plot of 'An American Affair' does indeed follow this real-life story nearly to the letter and the mystery surrounding Mary Meyer's death lingers today for those that believed she knew much more and indeed let on she knew who might have been responsible for the President's death. That is very much implied in this movie, but I can't help but think this could've been such a great film with a better script. It truly has all the ingredients of being a love story, political thriller and mystery wrapped up in one.6 out of 10.

thomascapital OMG! The CIA whacked Jack! Come back to reality. The movie has great actors (Noah Wyle, James Rebhorn, Gretchen Mol, among others); however, the Libtards in Hollywood simply cannot tell a story without their crazed anti-American, Anti-CIA, anti-whatever being the core of the story.JFK was murdered by Oswald (with perhaps the aid of Sam Giancana). Bobby Kennedy was a ruthless and LAWLESS man. JFK had many flaws but was a great leader surrounded by lousy advisers! The movie is still worth watching as every 14 year old boy's fantasy comes to life and love is not what it is all cracked up to be! Had Jack lived he most likely would NOT have been re-elected as Goldwater was way ahead in the polls and the American public was still quite angry at the poor handling of Cuba and Kruschev!

ken-bld Some of the reviewers here obviously have never heard of, or read a book of, historical fiction. This movie did not begin with "True Story". Hence why expect it to be? Indeed, if a film about historical events was 100% accurate it would be so boring we'd then complain about that. Gretchen Mol did a superb job as usual. I first saw her in "Forever Mine". If she gets the right part she always delivers. The part of the young man was also well done. It is difficult to give much info without spoiling the plot. It has drama, romance and tragedy. All well done; the components of good movies. So watch it for yourself. And don't try to make historical comparisons as you do. That's not what this movie is about.Most of the bad reviews here come from those who did not see the typical Hollywood template film they expected. There are no Quentin Tarantino type influences here. It's not the typical American type template that has won the US only 5 Palm D Ors in drama at Cannes in the last 25 years even though we've put out tens of thousands of films! Yes if you expect the usual steamy sex, filthy talk, things blowing up, chase scenes, gun battles and bloody gore-filled murder scenes you will be disappointed. Sadly, there are few American made movies worth the time or expense at a cinema these days but this is one of them. You get to have your cake and eat it too.

paulwl COA=Coming of Age. It's a set and somewhat stilted genre by now, and _An American Affair_ does little to change that. Young Adam Stafford is isolated in the all-too-predictable World He Never Made: parochial school, iconic period parents cloaked in gray clothes and rote emotions, and females constantly pushing him away for no clear reason. We get the sense Adam's supposed to be Somehow Special - maybe because he's an only child, maybe because he's the big-eyed, callow, Pure Boy - but he's really just inert, a force to be acted upon by the grown-up world.Gretchen Mol's Catherine is really the only flame of real humanity in the film, the only one not acting out a role of someone acting out a role. The actor who brought Betty Page back to life a few years ago had matured fascinatingly since her days as a pretty bauble. Now we see her without the black wig and fetish gear, and she's a real presence. Her role as Sexy Bourgeoise Bohemienne is contrived - cool jazz, drugs, and a patently silly finger-paint ballet with Adam - but she has a genuine emotional vulnerability that most of the film lacks. The subplot of neighbor Catherine's involvement with Jack Kennedy - who apparently will talk to the CIA only through her - is not well integrated. As a result, it feels obligatory, as if it's there to beef up the COA story (and perhaps add a little commercial zing). It does provide a counter-irritant to Catherine's sensuality in Lucien and Catherine's ex Graham, the Agency men easily reduced to masculine role-icons. Lucien is so buttoned up he seems almost deliberately awkward, and Graham taking what we're supposed to believe are the only outlets from his masculine role - drinking and rage towards Catherine. Director Olsson is, of course, working with archetypes - Cold War Washington folk - but he never lets them get beyond their icon status. Particularly telling is his handling of the JFK assassination moment - the parochial school kids left to stand pointlessly in line as all the sisters gather at the television. The news is spread only by Adam, the special boy, who whispers to the pupils - and a silent overhead shot as they scatter like birds in a Paris park. Again, a dance of roles and distance, too stylized by half. Here's a hint, Mr. Olsson: Camelot wasn't so long ago that you have to play it as somber as a medieval allegory. (What does it say that _The Tudors_ had more men in crew cuts than your vision of 1963?) People - CIA men maybe excepted - did approach one another as people, and European directors often miss that American ease. Ironically, that same ease was what made John Fitzgerald Kennedy so irresistible - not just to his many feminine liaisons, but to his country and the world.