User Reviews (15)

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  • flimbuff14 April 2002
    Nothing great here but a nicely acted story about an abused deaf wife (Fonda) of a small time crook (Bochner)who gets involved with one of her husband's plans and his mistress. Sutherland and Weber are cops drawn into what turns out to be a unmysterious murder investigation and the story just flows along.
  • carl-3611 November 1999
    The basic story was pretty good, the acting, especially in the initial scene that sets the film up was realistic. In fact, Fonda's acting throughout was excellent even though the script made her dumber then a nail. You keep yelling at the screen, "Call the cops! Call the cops!" Of course, she doesn't.

    And the self-mutilation scene -- wouldn't this guy be in pain for days if not weeks? Drove me nuts.

    Keifer Sutherland often plays a real good bad guy -- but not this time. Now he's a cop who never met a donut he didn't like.

    Go ahead and rent this movie. Just keep a can of Spackle handy to plug up the holes in the story -- like who fed Duke the dog?
  • "The Break Up" is not a thriller or a mystery or an action flick. It's a somewhat disjointed and flawed drama with Fonda at the center delivering a solid performance. There is just enough meat on the bones of this flick to give the viewer something to chew on as long as expectations aren't too high. An okay journeyman flick recommended for Fonda or Sutherland fans.
  • excellent drama. very dark. i have never seen california photographed in such a way. bridget fonda as the deaf wife beaten by her husband is superb. the film gripped me from start to finish. very understated performance by sutherland. the direction was very european. amazing to get such a performance from fonda.
  • The plot was really weak and confused. This is a true Oprah flick. (In Oprah's world, all men are evil and all women are victims.)
  • What a horrible waste of time, energy and money, and I'm talking about me, not the producers! A horrible plot line, very bad acting and totally predictable outcome. It even took the director ten extra minutes of shooting scenes after the "climax" of the movie to figure out how to end it! I'm still trying to figure out why they made Fonda's character deaf, it really didn't come into play in the movie. Far fetched scenes with the husband and his self-mutilations. Minute after minute of nothing really happening on screen, it seemed they were just trying to figure out how to stretch the length. How anyone could be "held in suspense" by this movie is beyond me. No drama, no acting, no believable plot line and hopefully no more people will spend a dime on this movie. One of the worse!!
  • At every plot point, the story worked only if you assumed that the people involved were dumb. Sutherland and Fonda, two pretty decent actors, must have really needed the work at the time to put their names on this one.

    If for some reason choose to see the bow-wow anyway, I won't spoil it for you, but I'd strongly advise disconnecting your brain, as the plot inconsistencies might cause neural damage if you remain aware enough to start noting them.

    We signed this out of the library and didn't pay a cent for using it, and it was _still_ a waste of time.
  • Fonda proves to be amazingly subtle and focused in her role as an abused deaf wife. The mood and tone of this film was compelling and unique, and though the story itself was unoriginal and at times contrived, I found myself totally drawn into the characters and style of the picture as a whole.
  • Warning: Spoilers
    Bridget Fonda is the sexually satisfied wife of handsome Hart Bochner. One afternoon she comes home, calls him "honey", and quietly fixes him a drink, only to find that he's sulking. Minutes go by while she compliantly puts up with his frowning silence. Suddenly, he bursts into a rage, accusing her of infidelity in the complete absence of any reason to do so, calls her the C word, slams her head against a cabinet, slaps her around, and winds up flinging her off the second-floor balcony, breaking her hand and a couple of ribs.

    She wakes up in the hospital where, it is revealed, she is deaf, although we notice that she reads lips perfectly. That avoids all the awkwardness associated with an ASL interpreter or having her squawk words in a simulacrum of language.

    All right. Let me just lay out the basic plot elements. This beautiful and devoted handicapped woman is beaten by her husband, misunderstood by her elderly mother, betrayed by her sister, has her bank account emptied by unknown hands, almost raped by a fat man who accosts her in a bar, is thought to have murdered her now missing husband, and is pursued by two cops (Kiefer Sutherland and Steven Weber), one of whom is interested only in justice while the other seems to dislike all women and is embarrassed by their presence. The end finds her standing alone at a deserted bus stop with a hand full of cash -- alone, tearful, but brave.

    Now, a pop quiz. There is only one multiple-choice question. "This story was written by: (a) a man or (b) a woman." Not to sound sexist. One could as easily pose a scenario about a decorated military hero and trained warrior who is captured by his enemies, betrayed by his organization, beaten and tortured, escapes to exact revenge, and winds up with the woman he loves, whom he thought he'd lost long ago.

    The direction is functional and conventional. When Fonda regains consciousness in a hospital bed, we see from her point of view the faces of the anxious doctors and nurses looking down at her -- that is, at the camera -- an echo of every scene in myriad second-rate movies in which the gurney is being hurriedly wheeled down the corridor and people wearing starched white coats and festooned with stethoscopes hover over the camera.

    Hart Bochner has played a number of evil people in an interesting way -- some of the characters are stupid ("Die Hard") and some are rather more than plain rude ("And The Sea Will Tell"). His virile handsomeness has a kind of evil tint to it. It would be too easy to cast him as a hero. Nice, intentionally bland performance by Steven Weber as the dumb cop -- maybe the best in the film.

    Bridget Fonda is interesting too. Her acting range is limited but it's on full display here. What makes her an object of interest is her almost stereotypical beauty. She's like a high school prom queen. Very feminine. Of course she can't help it if she slithers around or moves her hands so gracefully. Neither can she do anything about her nose. For most of its length it's perfectly normal and attractive but at its very tip there is a bump outward that follows the natural flare of her nostrils. The tip of that nose is full of intrigue.

    As for the movie -- Pfui.
  • bennette3 September 2007
    Warning: Spoilers
    Bridget Fonda has disappointed me several times over the years, but she had my attention in BREAK UP. It's true the story is missing critical details in several places, but I just kept scrutinizing Fonda for clues about what was meaningful in the story and she didn't let me down. The look in her eyes in the last scene, as she musters up courage to, literally, put one foot in front of the other toward her uncertain future is one of the most dramatic and significant examples of face acting ever. I believed her completely, possibly because I've known and admired several "tough broads" who survived similar abusive situations. And they did this without becoming man-haters, but that's my own hopeful projection of Fonda's character at the BREAK UP.
  • leneker28 January 2002
    Worse than mediocre thriller about an abused wife who goes on the lam after she is linked circumstantially to the death of her husband and sister. Determined to prove that her husband is alive she follows leads across the state, her peril increasing at each stop. Chasing after her are the traditional 'good-cop' and 'bad-cop' pair of partners. One is convinced of her innocence the other more interested in closing the case and getting home. This pair is often able to corner their suspect but never quite to capture her. All the main players meet up in a remote town in the desert and the truth begins to unfold with deadly consequences for some.

    Wow! This was a bad movie. The lead acted as if she was tranquilized, The cops couldn't find a suspect if he or she is in the police station (this happens twice) and everyone else is as one-dimensional as can be. Avoid this one at all costs.
  • Low-rent version of Ashley Judd's Double Jeopardy. Sutherland is too professional to be bad, but what was Brigit Fonda thinking?!? The Penelope Ann Miller curse continues (Think about it--when has she EVER been in a good movie other than Other People's Money? And I'm not saying she's bad, but all of her movies fail in some way).
  • Not much director Paul Marcus could do with an inane story line and some of the worse acting jobs ever in a film. I continue to be amazed and amused at why Bridget Fonda continues to work in films. Is it the Fonda name that keeps her working? In this one she shows the gamut of emotions from 0-1. Deadpan expressions, lack of any acting style, I think she thinks being a deaf mute means a mute performance. Worst acting award continues to go to this no-talent actress. And right beside her is another inept actress, Penelope Ann Miller. Haven't seen her do anything interesting yet on film. Why does she continue to get cast? Kiefer Sutherland, whom I admire, gets nothing worthwhile in this flick. What a waste. He tries. And Steven Weber, whom I admired greatly in JEFFREY, gets dumped on in this one. Another waste of a good talent. However, I did like the work of Hart Bochner, whom I have never seen before. He gives an interesting performance as the abusive murderous husband. And I liked the dog, too!
  • Totally worthless film with no story and no good acting at all!
  • "Break Up" is a Miramax production from 1998. It is currently available on NetFlix Instant Download Streaming. The director is Paul Marcus, and the writer is Anne Amanda Opotowsky. Actors include Bridget Fonda, Kiefer Sutherland, Hart Bochner, Steven Weber, Penelope Ann Miller, Tippi Hedren, Leslie Stefanson, Mike Hagerly, Tom Harrison, CharlesNoland, Muse Watson, Martt O'Toole, Abraham Venduzco, Anna Getty, Zack Tiegen, Gina Aponte, Tommy Townsend, Robin Thomas Grossman, Susan Barnes, Joe Spano, Jack Shearer, Cynthia Geary, Hal Landon Jr., Srah DeVincertis, Alan Schwartz, Alan Schwartz, Robert Peters and Brent Briscoe. The story is about a couple with severe anger issues. Anger management may have helped, but it would also help the audience which had to sit through the wife beating scenes in this less that perfect film. I was able to only give it 2 stars. Dale Haufrect