A successful asset manager, who has just received a huge promotion, is blissfully happy in his career and in his marriage. But when a temp worker starts stalking him, all the things he's worked so hard for are placed in jeopardy.
The film begins when Julia Banks is being questioned by a detective in the murder of her psychotic ex-boyfriend, Michael. Julia claims that she has been set up and that she has nothing to do with the murder, despite social media conversations clearly showing Julia lusting after him. The scene then cuts to six months earlier, with Julia getting a send-off from her boss and friend, Ali, from her job as chief online editor for a storytelling website. Julia is now going to work remotely from the mansion she will be sharing with her new loving fiance, David Connover, and her soon-to-be stepdaughter, Lily. Arriving at David's, she is greeted by David's ex-wife, Tessa, who is still not coping with the end of her marriage two years earlier..
When 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 Kelly. This is why the photos do not show the groom's face. See more »
Around 1.44 minutes in Tessa smacks the back of David's head with the fireplace tool who lands on his face. When Julia arrives he's on his back. See more »
Jealousy has been taken up to another level: Is it a pathology or an exaggerated affection?
The Greeks gather the abstraction of love in four appropriate areas, which contain affection types that empirical beings can hand over: Eros (sexual passion and chief propensity of the current romantic- erotic cinema, which inclines to express true love with abrupt lewd interruptions), Storge (linked to the filial and perpetuity), Philia (concord, friendship and appreciation towards others) and Agápe (the purest, chaste and loyal love). There is no doubt that jealousy and love are intimately linked to the loved one. The "green-eyed monster", in suitable proportions, is quite salutary, however, when it batters the limits can lead to unhealthy and pernicious triggers of an inhuman Golgotha. Jealousy and love keep one of the most complex, analyzed, multidimensional, amorphous and worst relationships in the extension of their variables in modern cinematography: from mother to child, marital, engagements, betrayals, love triangles, futile ones, passing loves, between siblings, co-workers, older adults, individuals of the same sex and even inanimate beings."Unforgettable", from the producer turned into filmmaker Denise Di Novi, is the latest audiovisual work in joining the vade mecum of the vacuous, blinded, implausible and—although its scriptwriter and director are female- contradictorily misogynist romantic feature films of the 21st century.
Julia (Rosario Dawson), a successful and helpful businesswoman, is recovering from a tortuous affair awash with violence, outrage, and abuse. Now she has met David (Geoff Stults), with whom moved to Malibu in order to heal the scars generated by his former abuser. However, David's ex-wife, Tessa (Katherine Heigl), resides with her young daughter in the same locality, where the contact between these two girls will be unavoidable. Julia will take on the most optimal attitude to deal with the megalomaniac and perfectionist behaviors of the good-looking woman. Nevertheless, when Tessa hears that her beloved man is going to marry with her Latina opponent, madness will take shape of an unregenerate blonde with little moderation and insatiable appetite for revenge.
No one would think that gender-based violence would be one of the components in an audiovisual production head by women, although this is an apparent trifle and serves as a paradigm of evolution, and it's even less plausible that the scriptwriter, the filmmaker and the cast of talented actresses were to collaborate on the story of two women struggling for the affection of a man. Will it contribute to show that females can be declared free from the yoke of male chauvinism? Of course not, and that's where avidity for light and clearly hollow entertainment comes up. In addition to hide us what we intuit in advance that happens behind the exhibited narrative thread, trying to build a suspense and intrigue point with which to follow the story, they assign to each frame, in the beginning, timing and editing interest is at rock bottom, for later, to grant it a music video clip touch that accentuates, staggeringly, the atrophy in exposition.
Di Novi and screenwriter Christina Hodson flaunt their unskilledness in the romantic thriller field with a messy assortment of words and determinations misdirecting the story, even sometimes caressing the absence narrative zone. Long ago I saw no really gratuitous twists and cliffhangers in a real atmosphere, it is assumed that the movie is a dramatic love tale, not a seesaw of stupid vengeance with the antagonist's mother as a sign of redemption.
Dawson is the only one who gets out safely of this libidinous congestion, portraying the woman who can perform as a hero as a villain. Heigl demonstrates a high record in the situations of tension and in circumstances where sanity shines by its absence, leaving, as a result, a female duo that is the only thing standing out. "Unforgettable" simply squanders the limited potential it conserved; I thought it would deliver a much better motion picture, nevertheless, I come across with a residual puddle of ideas and powerful motives. The typical and pitiful Hollywood audiovisual production that benefits from a contemporary soundtrack, a modern photography and an alleged message of fair treatment in order to connect with the most naive/ignorant people who still have faith in witnessing an absolute rupture of the stereotypes of love in cinema.
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