Trust the Man (2005) User Reviews (66)

Trust The Man

[tomhbrand · 5/10 · 13 November 2006]

This film seems to seek only to be exactly what it seems to be on first viewing, and manages that superbly. And all this is is just one more 'relationship' movie, showing the problems faced in modern life by 'trendy' couples in New York.

The film portrays two couples living in New York, a brother and sister and their respective partners, who have the typical problems with each other. One couple has Julianne Moore and David Duchovny in a marriage gone stale (unimaginatively shown through the medium of having Moore's character repetitively refuse her husband sex), and the other has Maggie Gyllenhaal desperate to further both her career and relationship with a boyfriend who is terrified to commit, apparently because of a fear of dying.

Not exactly original is it. Throughout the movies I just found it to be simply leaning on the stable stereotypes and ideas of every other film of this genre before it, but with little or no effort to flesh out the characters to an interesting level, something vital in a film of this kind. None of the characters in this piece are interesting, and you just cannot bring yourself to care about them. I really expected more from Duchovny and Moore, who we know can do this sort of thing well if they try, and the only one here who vaguely manages to come out of this well is Gyllenhaal, who somehow manages to work through the material and give Elaine a level of naivety and a hope to improve on her lot to make us root for her.

This is where I felt the movie, like many others like it, missed the point; these characters have problems, they're not happy and their relationships are falling apart but they don't seem to want to bother doing anything about it. In fact 'helping yourself' is actively mocked. Tom and Rebecca go to marriage counselling once a year as a joke to wind up their guidance councillor. When Tom joins a sex addicts group (apparently if you're wife refuses to have sex with you ever, and tells you this to your face, if you still want sex yourself it means you're a sex addict. No one wants sex once you have children! What a freak!) we just get shown an amusing group of weirdos with stupid and amusing fetishes involving power tools.

What this shows to me is just one more love story of how New York (once again shown as a seeming example of the epitome of American society) drains people and makes them miserable and alone. How everyone is miserable, but trying to improve your lot is pointless and laughable, so just get over it and you'll get the inevitable happy ending where both couples get what they wanted from the start, not because they've actually changed or started liking each other, but because we've got the end of the film and need to wrap it up for that cathartic happy ending that the audience wants. The moral: don't bother trying to change your life if it's not working, it'll all work out in the end if you pretend your happy.

Pity it wasn't a French movie

[Exonian · 6/10 · 31 December 2007]

I watched this movie hoping for a French-style witty and reflective comedy examining complex relationships. What a pity this wasn't a European movie set in the cafés and homes of Paris rather than New York!

After a promising 15 minutes when initial relationships are established, the whole thing rapidly descends into a series of cheap and corny attempts at humour all rounded off with the worst of Hollywood RomCom endings. Secondary characters such as the guy with the foreign accent are one dimensional and clichéd, so that an interesting comedy descends into not-very-funny farce, and the potential for comic examination of believable roles and relationships is lost.

The leads - especially Maggie Gyllenhall, Julianne Moore and David Duchovney - are (as always) excellent. But their contribution is in spite of, not because of, the script.

6/10 - but only to reflect the lead actors' efforts to rescue a really disappointing script.

An occasionally funny romantic comedy although it's mostly a non-engaging ride

[christian123 · 5/10 · 16 March 2007]

Tom (David Duchovny) is a stay-at-home dad married to a popular actress (Julianne Moore), while his best friend and her younger brother Tobey (Billy Crudup) has lived for eight years with the hard-working Elaine (Maggie Gyllenhaal) but won't commit to the relationship by marrying her. This is what happens when these four New Yorkers decide to explore other options.

At a glance, Trust the Man seems harmless enough but it's actually fake and a bit too insignificant to really have an impact on the viewer. The script was simple and it wasn't hard to figure out where things were going. The dialog was okay although some of it was a bit unnatural. I'm not from New York so maybe this is actually normal behavior but a lot of the conversations were just awkward and none of it felt real. All of the characters spoke in the same way so the movie got a little irritating because it was just the same personalities on screen and there was no variety. However, some of the dialog and scenes were pretty funny.

The characters weren't particularly interesting and most of them were unlikable. In the beginning, their situations were interesting to watch and then the film ditched the laughs and got all serious. The sudden change of tone invited the viewer to feel sorry for these people even though most were one-dimensional and pretty selfish. So, the first half of the movie was decently funny and consistent. The second half was serious and just not very interesting. The one thing I did like about the movie was the setting and Bart Freundlich did a good job at creating a realistic area. It's too bad he couldn't use some of that realism with the script and characters.

Out of the leading cast, Billy Crudup gave the best performance. His character was pretty selfish yet still engaging and funny. David Duchovny was very wooden and not interesting at all. This was probably the intention although I didn't like the idea of his character at all and his performance was unbearable at times. Maggie Gyllenhaal was fine but she can do better and she didn't seem to really be trying. Julianne Moore had a couple of good scenes although she was a bit over the top and fake. Out of the supporting cast, Eva Mendes was surprisingly funny although she was only on screen for about ten minutes, maybe a little less. She was the only one who stuck out from that group. Overall, Trust the Man had a decent story although it couldn't generate genuine sympathy due to it's shallow and fake storyline. If you like any of the actors, it might be worth a rental although they all have better work out there. Rating 5/10

Poor plot

[Gordon-11 · 2 October 2006]

This film is about the relationship turmoil about two couples, with them all trying their best to save their relationships.

I saw this film mainly because of the stellar cast that the film has assembled. The initial scene of couple therapy reminds me of a similar scene in "Mr And Mrs Smith", and is certainly funny. However, there is not much humour in the film after that. The plot then spirals to become outrageous and unbelievable. This film is marketed as a comedy, and yet I do not think it is funny. It is more drama than comedy.

The film is often slow and fails to grasp the attention of the viewers. I get the impression that events in the film happen just for the sake of happening. I can see no reason why the events happen that way. Maybe it really was because my attention deficit, that I do not even recall seeing David Duchovny's character having any evidence of having an affair at all apart from his self confession.

I think this film could have been good with a better plot, but the plot is quite a mess and does not make viewers interested in what happens next. The ending is artificial and seem forcefully put together. I would not recommend this movie!

Fun Movie On Relationships

[trevor-hall-1 · 7/10 · 14 September 2006]

I was surprised to see that this movie was being screened at only one theater in my region. When I arrived, it was not named on the electronic display board. I asked if I had made a mistake and was cheerfully told that it was being shown in theater no.12! I bought a ticket and sat alone, unsurprisingly, I guess.

I thought the movie was pretty good. It explores the complexity of feeling in relationships that have become stale and habituated - a common occurrence these days. It reminded me of a goofy version of Woody Allen's Hannah And Her Sisters. I thought the scene of Duchovny attending the sex addicts' therapy group for the first time was truly hilarious. Not often that I laugh out loud at the cinema. (Odd that the fox Mulder character enjoyed watching porn.) Sadly, I was disappointed by the ending, which just stretched the imagination too far, for me.

In these days of blockbuster-obsessed America though, it's great to see a small budget movie like this, even if I had to hunt it down.

Simply good and watchable for what it is.

[Boba_Fett1138 · 7/10 · 19 January 2011]

To be honest, I had no idea what to expect from this movie and as it started I had no idea which direction it was heading to. At first it really seemed like the movie wasn't going to do anything good or interesting with its story but once it does, the movie gets a quite good one to watch, within its genre and I simply really enjoyed it for what is was.

What I like about this movie is that it never becomes a melodramatic or sappy one, like movies like this often tend to do. The situations and characters within this movie are being kept mostly real and so are all of their emotions and feelings. This is the foremost reason why I kept liking this movie throughout. I liked were the story was going and the overall message of it.

Yes, it still also really is a comedy though, so some of the situations and characters are still being exaggerated for comedy effect. But just like its drama, the comedy never pushes it too far, until its end, when the movie suddenly becomes more goofy. But overall I still really liked the balance between the comedy and the drama of this movie.

Thing that also truly keeps this movie interesting and good to watch is its cast. It really has a surprisingly good cast in it. Julianne Moore, Maggie Gyllenhaal, David Duchovny, Billy Crudup, Ellen Barkin, Bob Balaban and Eva Mendes all in one movie. That's quite amazing actually for such a low-key movie as this one. Every actor was fine within their role but the one that stood out most to me was David Duchovny, who is trying so hard the last couple of years to become a legit actor after his "X-Files" fame. He had an hard time getting rid of his image but if he keeps on playing like he does in this movie, he should be alright.

I can still see all of this movie its flaws, such as some story issues and some misplaced comedy at times but as an overall experience, I surprisingly liked this movie and I honestly liked it better than just the average genre attempt.

7/10

http://bobafett1138.blogspot.com/

A barely adequate film with some charms, some laughs and lots of groaners

[Skon · 4/10 · 17 August 2006]

It's not that Trust the Man is a bad movie. It's not without some merit. But it's a film that could have been better had some time been taken with the script and with the direction. Spain's great filmmaker, Almodovar, complained this week that American movies have year by year become worse and worse because of their scripts. This film serves as a great example of what Almodovar is referring to.

The problem is that we're no longer writing characters in scripts, we're writing what I call "Oddities" - characters with a one-dimensional problem that makes them kooky but leaves them being just a type. It's more of a freak-show approach to storytelling (step right up and see the sex addict, step right up and see the woman who desperately wants to get married and have babies, etc). Here we have four great actors who are all playing oddities. Duchovny is the sex addict whose addiction is tempered by the fact he's a Mr. Mom and a great one too. His wife, played by Julianne Moore, isn't all that interested in sex for some reason which is not really made clear in the film. She's definitely attracted to him and the two seem to have a rather physically intense romantic relationship. But hey Screen writing 101 says conflict is necessary, so if the husband is a sex addict let's make his wife frigid for no apparent reason.

Likewise with the Gyllenhaal and Crudup characters. He's obsessed with being single, so guess what, let's make her obsessed with being married. As you can see this is a rather unclever film.

But there are funny moments. There are some great lines spread throughout the film. But it's long boring and you'll cringe as everyone seems to have a scene in which they break down and cry their eyes out in an almost childish spat.

This is the other main dysfunction of the film. Instead of making things believably come from the characters the film just pushes us this way and that way making things happen because it might be funny or it helps tie up loose ends, but it doesn't work with the stark realism of the New York setting. For instance, Duchovny's character starts to have an affair even though it's so clear that he's in love with his wife. We never for once think he is that sexually starved that he'd risk infidelity. Likewise we never for once believe that Julianne Moore's character is that disinterested in sex. She even takes out her friend after a breakup for some hot sex with an "attentive man." She goes as far as to admit having a threesome back in college. Does this sound like a woman who has no sexual interest whatsoever? And there's some question of whether she was having an affair too, though it seems like something was left on the editing room floor that would have explained that a little further.

Oh and for some reason Billy Crudup starts following around his therapist. Once again for no reason.

And the ending is just bad. It doesn't seem believable to begin with and comes off like sweetened sacchrine. Which is a shame because these two couples actually have chemistry.

It just takes too much time and sags around the midpoint of the 2nd act.

Plus for some reason there's a scene with Duchovny and Crudup talking where Duchovny ends the scene by suddenly announcing "I have to go" and then leaving. It's a rather poorly directed moment that seriously bothered me. Why does a character have to announce that they're leaving the scene? Just have them walk away. I think the audience can figure that out. Look for the moment, it's really odd.

I went to a preview screening of the film and I wish I could have talked to the director afterwards because with about 25 minutes of trimming they could have had a much tighter, old-style Woody Allen sort of film.

Sadly Almodovar is right. American scripts are at their lowest. Look at Superman Returns, Miami Vice, and now even this independent work. At least Fox Searchlight is also releasing Little Miss Sunshine at the moment. That movie is phenomenal and might be one of the few gems that refutes Almodovar's theory. But there's far too much to prove it.

I ask film-lovers out there. Why are we still accepting adequate films today? Why don't we hope for something more. Why don't we raise the level and say give us good films.

Adequate just ain't good enough.

Who Da "Man"? Duchovny shines in otherwise routine rom-dramedy

[george.schmidt · 7/10 · 18 August 2006]

TRUST THE MAN (2006) **1/2 David Duchovny, Julianne Moore, Billy Crudup, Maggie Gyllenhaal, Eva Mendes, Dagmara Dominczyk, Justin Bartha, Glenn Fitzgerald, Garry Shandling, Ellen Barkin, Bob Balaban, James LeGros, Jim Gaffigan. (Dir: Bart Freundlich)

Who Da "Man"? Duchovny shines in otherwise routine rom-dramedy

The whole men and women dichotomy thing has been around for so long – hell, since Adam and Eve – and seemingly even longer on screen from Bogart & Bacall to Stiller & Diaz – that it seems like a given for cinematic license to attempt to re-boot the whole "What really is the deal between the sexes?" The answers proposed here are neither original nor well handled but despite their clumsiness, hey, at least they're trying.

That seems to be the message for a quartet of young Manhattanites in this frequently amusing yet ultimately half-baked comedy/drama focusing on Tom (Duchovny, in one of his better on-screen roles in some time), a former advertising wiz, now a stay-at-home daddy and his famous actress wife Rebecca (Moore, reuniting with her "Evolution" co-star with mixed, yet ultimately pleasant results) and her brother Toby (Crudup adding another notch to his Peter Pan-type cabal of characters), a freelance sports journalist who has been in a 7 year relationship with her best friend Elaine (Gyllenhaal having a blast with her complex role), who works in publishing and is shopping her children's book around in the process.

The guys are, you know, guys. They like their porn, SportsCenter, TiVo and being deliberately ironic as well as passing wind and flirting with single moms while the gals, are, you know, very serious about how both their love lives deserve more (Tom loves sex but gets it in a blue moon from Rebecca, whose slightly frigid demeanor instead is her defense mechanism with everything borderlining psychoses; while Elaine wants marriage and children as Toby is utterly clueless to her needs, despite the great and frequent sex).

Tom's meet-cute with Pamela (the always fetching Dominczyk who really needs to be on the big-screen more; she's one of the damndest beautiful faces I've ever seen) at his children's day care center opens a door to the possibility of an affair while Toby, Tom's best bud, keeps running into an old college crush, Faith (the sexily saucy Mendes), who seems willing even more when Elaine abruptly dumps Toby's vapid ass.

Despite Toby's arbitrary therapy sessions with his passive/aggressive shrink (shrewdly played to comic affect by Balaban) he is just being Toby but obviously that is not enough for Elaine, who is looking for someone who will be more attentive. Rebecca's fix-ups for her girlfriend is one of the more humorous moments of the piece particularly a Eurotrash doofus named Goran (Fitzgerald), who should have subtitles to his atrocious garbled accent. Rebecca herself has a possible fling-to-be with an inept co-star (Bartha), a years younger dude who is equally daft at how to be subtle with his attempt at seduction.

For the most part Freundlich, Moore's real-life spouse (who collaborated both with Crudup in the interesting '70s-feel drama "World Traveler"), mixes it up with laughs and predictable drama (the affairs, duh, ruin everyone's lives!) but he certainly has a flair for making likable actors into likable jerks. It's only in the last third of the film that I kind of winced for its sudden theatricality (well, I guess this is a lame argument since it takes place in a theater) but I did enjoy the second best cinematic holler of 'ELAINE!!!" trust me you will too when you see it.

Duchovny's Tom is really a decent guy who loves his family but blindly follows his yearnings for something – anything – resembling something he can relate to. He has a very funny sequence at a Sexual Anonymous meeting and a very heartfelt conversation with Crudup as the men try to make sense of their aimless lives of snarky one-liners and realize, "Hey I have a beautiful woman in my life who really completes me!"

Crudup, one of my favorite contemporaries (as well as DD), is a riot and you do feel for the dummy when he keeps being his kid-like character when his gal drops him like a bad habit and his scenes with Gyllenhaal are tenderly warm and amusing. She also counters him with some sharp observations about them that Moore also reflects in her marriage (who cries/laughs at the same time better than her?)

The look of the film is crisply lensed by Tim Orr giving NYC a clear-eyed, picaresque portrait of the best city in the world where yes, 4 people can love one another even if ½ of them aren't aware of just how good they have it.

My biggest problem was making Moore's character such a hard character to like (the birthday party scene after she's accidentally injured by one of her children had me grinding my teeth at how nasty she was to her husband) and maybe that's why I didn't enjoy the entire film. But in the end, it isn't a bad film at all, just a bit misunderstood.

Good Actors Struggle With Bad Script

[wespain · 2/10 · 16 April 2007]

I rented this movie because of the great cast. I finished it amazed that any established actor would have accepted a role in this thing based on the script, which was lame, unoriginal, and mildly offensive in its attempts at humor. Rarely has a battle of the sexes been so predictable. The story was filled with stereotypes and stereotypical behavior. The men came off as overgrown children. In any real world, their female counterparts wouldn't have put up with them for two weeks, much less years. It was painful to watch a game cast try to breath some humanity and originality into these characters. Moments intended as funny or telling merely smelled bad. Woody Allen covered the same ground years ago in a much better way. Try Hannah And Her Sisters. This particular would-be Woody update added nothing to the genre.

Good cast playing kind of annoying characters. Maggie Gyllenhaal was the star here.

[bopdog · 6/10 · 27 September 2006]

This is one of those ensemble romantic comedy movies. A bunch of 'characters' are mixed together, and go through the ups and downs of married life, and singles love life, etc. It can be as interesting as any other. And newness, or outright freshness is NOT a requirement for this kind of movie to work. After all, isn't it true that most of us can relate to screen people falling in love, having problems, facing dilemmas, and overcoming them? However, even though the cast is first rate, and there are lots of 'scenes' and lots of things happening, the flow is kind of stilted. The characters seem a little too pat, too 'drawn', too much like some script writer's IDEA of what people in love situations should be like, to be interesting. Like a mediocre comedian trying desperately hard to be funny, these characters try desperately hard to be poignant and interesting. And that, sadly, makes them exactly NOT very real, and not very interesting.

Maggie Gyllenhaal was probably the best character in this movie. She's a quirky and marvelous actor, with a great down-to-earth female presence. Ellen Barkin, in her brief and inserted-looking cameo, was also great. She is one stupendous old broad! Seriously, she is a hot and sexy woman of 52.

I have to say that although Billy Crudup (has he thought about changing that name? Jeez!) was wonderful in 'Almost Famous', here was a royal pain in the bottom. What an annoying character!!! And ditto for David Duchovney's character, although his wasn't quite as annoying, he was nonetheless maddeningly stupid (the character, not the actor).

Julianne Moore was solid--- nothing too hot, nothing too bitchy. But again, the exciting person here was Maggie G.

Overall, this was kind of clumsy, and a little bit strained. But I still 'liked' it OK enough. It would make a pleasant date movie. I gave it a judicious 6 out of 10.

Pretentious crap

[ftrain · 2/10 · 17 August 2006]

Barely a genuine moment in the movie. He started out setting the stage for a thoughtful drama/comedy and then littered it with completely fake characters and situations. The zen musician/friend/minister? The lesbian book publisher who gets water spit in her face and sticks around for a friendly chat? The European boyfriend with the fake European accent and stereotypical lisp? Getting chased by a security guard around Lincoln Center? Showing up in a cab in the middle of your brother's/best friend's wedding, and not having anyone notice? Ludicrous, disingenuous, pretentious nonsense. So many story lines started but not completed. The car that he has an emotional attachment to. The children's book the girl wants to publish. The ex-girlfriend who he bumps into a couple of times, who makes a pass at him, and then you never see again. The sex addicts support group? Julianne Moore's acting colleague who, at the end, we're apparently led to believe perhaps she was having an affair with, but that was never developed or explained. Maggie Gyllenhall suddenly, inexplicably pining for a baby? It was just one obnoxious scene after another. A waste of good actors.

An amusing look at all too familiar spousal situations

[canscene · 8/10 · 1 August 2006]

I missed this one at last year's Toronto International Film Fesival, but have just seen a preview prior, presumably to its Toronto release.

For me live-in lovers Billy Crudup and Maggie Gyllenhall delivered sparkling performances far more sympatici than the other couple -- the married pair of Julianne Moore and David Duchovny who also did their job well, but it's the antics of the former two that keep this film alive and moving.

Without wising a spoiler on you, I was in a genuine state of suspense over whether or not this movie would have a feel good ending.

The behaviour of these four characters is not really rooted in reality -- who expects this of a comedy? -- but their quirks and good qualities are sufficiently close to it speak for the times.

There were several good laughs and a couple of good running jokes which didn't pall on me.

I found Trust the Man a likable effort which should prove popular in spite of what I know will be some critics' objections for occasional in-your-face crudities

Clichéd Plot, still a very enjoyable film

[Pippy-4 · 7/10 · 25 August 2006]

Well, I must say that I really did enjoy the film very much. Each and every one of the cast was wonderful. The audience reaction was very good. There was not just some giggles but out and out belly laughing. I'm not sure what critics look for in a film, but I found it thoroughly enjoyable. Trust The Man was a very enjoyable way to spend a summer evening. I found that David Duchovny is really a very good comedic actor. He was a stand out in this film. He and Julianne Moore have a wonderful on screen chemistry. Billy C and Maggie G also were adorable together. Many of the critics didn't care for the ending, but hell, I thought it was cute. Gave me some great laughs throughout. I'd give the cast a 10 and the plot a 7. I found the cast was able to rise above the script and make it a fun film to watch. There are far to few films out there today that appeal to adults. and Trust The Man hit the spot for me and my husband .

One of the worst of its genre

[jodi_levy · 1/10 · 25 August 2006]

A waste of good actors...and good money! Nothing made any sense. There was no reason to care about these characters. Judging only by the ending, it seems that the whole point was that the men in the film were irresponsible, crass cads who finally learn the importance of love and family. Trite and boring. The story lines leading up to this predictable ending were beyond unrealistic, and yes, as someone mentioned above, there were multiple story lines that were not wrapped up. Elaine would never have been interested in that ridiculously fake French accent guy, and why on earth would she not have had a stronger reaction to her potential publisher kissing her on the street?? What did either couple do, learn, discover, realize or discuss that would have brought them to a reconciliation?? Shouldn't THAT have been the meat of the story?? The final scene in the theater was sheer nonsense! What an insult to the viewer! Just another disappointing film whose best (and only good) lines are in the trailer. A few saving graces for this film: David Duchovney was very good, the nod to 'The Graduate' at the end was cute, Gary Shandling was funny, and, unfortunately, that's about it!

No wonder it received such a small release...

[jellyneckr · 5 May 2007]

With over 100 feature films released in year, it can be hard to keep track of all the titles worth tracking down and checking out. Last year I saw a preview for Trust the Man before Thank You For Smoking, but with the great number of other flicks coming out in wider release, I forgot about it until this weekend. After watching it, I wish I had forgotten about it completely for there is almost nothing redeeming about this cinematic catastrophe. The cast has no chemistry, the writing and directing is amateurish, and cinematography is murky.

However, the picture's biggest fault is the tone. Trust the Man drifts uneasily from dirty sex comedy to tepid romance to boring drama from scene to scene, making for not only an extremely frustrating viewing experience, but an uncomfortable one as well. It's as writer/director Bart Freundlich didn't know what genre he wanted his movie to fall under during shooting, thinking that he would decide later in the editing room. Apparently that didn't work out either as it seems there are numerous scenes missing or incomplete. Other scenes go on far too long(the scenes with Billy Crudup in his car are perfect examples). There wasn't a single scene in Trust the Man I found effective, funny, or well done. The plot is a huge mess, gaping with holes. The only reason I give it a 1 as opposed to a zero is I reserve zeros for only those films that I find morally offensive/repugnant or without any artistic value whatsoever. 1/10

A Nutshell Review: Trust the Man

[DICK STEEL · 6/10 · 3 December 2006]

When I saw the trailer for this film earlier this year, I placed it under my radar to watch if it makes its way here. I would like to have loved this film, but try as I may, I just couldn't. Not that it's a bad film, but it had too much cramped into it, with subplots flying off in various directions, and the flow just feels too bloated.

It's been some time since we last saw David Duchovny on screen. I'm a fan of his Fox Mulder, but after the series ended, it seemed that he has difficulty securing regular appearances in movies these days. He doesn't seem to age, and his latest outing in this movie is testament to that, save for that bearded look toward the end. His character, Tom, is interesting enough as the sex addict (yeah, you read that right), who just can't get enough of the hot and heavy from his wife Rebecca, played by Julianne Moore.

For this couple, we look at their marital woes, or woes that exist but always swept and kept under the carpet. It doesn't help when husband and wife reverses roles, with him becoming a house husband with plenty of time in his hands, and she spending long hours away with her theatre rehearsals. And when an attractive divorcée comes into the picture, all hell breaks loose of course.

Written and directed by director Bart Freundlich (real life husband of Julianne Moore), the story contrasts this couple with another, that of Tobey (Billy Crudup) and Elaine (Maggie Gyllenhaal). They are your perennial long term dating pair, with one eager to tie the knot, while the other just being commitment phobic. The hairline cracks finally give way, and we go into deep examination of the doom and gloom, the familiarity and the taking for granted, your other half.

There's plenty of dialogue in this movie, but don't expect most of them to be funny all the time. No quality wisecracks can be found here. While some are humorous, they come off rather contrived. Many scenes are also set around the (dinner) table, which offers the perfect opportunity for the characters to get together and share their thoughts, being conveniently related to one another, through blood relations and friendship. What's interesting though, is the reminder constantly played throughout, about the need to be totally honest about each other, even though this will mean having to declare things you know will definitely hurt. A cry for help shouldn't be blown away.

Again there are plenty more scenes shot which didn't make it to the final cut, and the editing was not slick enough to cover up these open end hanging feeling between scenes. A whole host of supporting cast like Gary Shandling and Eva Mendes amongst others, get so minuscule a role, they just adds to the needless character count, and contribute to the fat not required in story development.

But if you think you're in need of some serious romance drama, and potentially the need to reaffirm your love for someone, or in the mood for some discussions about the various themes put across - of love, faith, lust and sex, then Trust the Man will be your clear choice this week.

A refreshing ,feel good Dramedy with able acting.

[HiddenVoice · 7/10 · 18 August 2006]

B

3.5/5

A story of how two men desperately trying to win the love of their women.One married with kids,other is trying to get married with a women who can't stand him.And their mistakes and errors pretty much make it harder for them to get it done.

A good natured ,light-weight comedy that entertains and amuses.With a standout performance by Billy Crudup and David Duckovny.The pairs are a delight to watch and this sure is something fresh and light.It's an easy going film.And for a nice time ,this is a good funny entertainment.It's a likable dramedy throughout.

Shallow

[tragiclaura2 · 3/10 · 18 August 2006]

The only thing this movie has going for it is the acting talent. There is no story, no arc, and the characters take an incredibly shallow view on relationships. Just like the other 2 B. Freundlich movies, it is all talk and no substance. Boring and has nothing to say. Tries way too hard to be funny, and all the forced jokes just fall flat. Since IMDb is forcing me to write 10 full lines, I will continue by saying that Julianne Moore is luminous as always, David Duchovny is very likable, Billy Crudup is over-the-top and annoying (scenery chewing much?) and Maggie Gyllenhaal is wonderful. She is the best thing in the movie and rises above the weak material.

a quick little snap of a film

[samseescinema · 7/10 · 1 September 2006]

Trust the Man -reviewed by Sam Osborn

-rating: 3 out of 4

The Manhattan of the movies has always been amorphous, malleable in the sense that it shifts to the filmmaker's demand. Scorsese, for example, often manifests his New York into a visual representation of Hell, whereas Woody Allen tends to make it a cobblestone Heaven. Now recently I've moved into the city, to a tenth floor room above Greenwich Village where Trust the Man supposedly resides. The opening shot is set two blocks away from where I'm writing now, in fact. The effect of having experienced everyday life here is that now I see the cracks and fissures of Hollywood's Manhattan. Bart Freundlich, writer and director of Trust the Man, is doing his best impression of Woody Allen here, especially in making the directorial assertion that New York City is a place where only Publishers, Actors and Writers live, and where minorities are only found polishing shoes to give such upper crust white society their services. It's a wonderland of very comfortable proportions; a place you cozy up to and snuggle with. The real New York City has very little to do with snuggling, mind you, and Bart Freundlich's version is almost entirely nonexistent.

But Trust the Man doesn't really require a realistic Manhattan for its story to work. It requires only rich characters and a wealth of good humor, both of which Mr. Freundlich has. In fact, ignoring all the financial woes and common worries of the average New Yorker is kind of the film's schtick. In this world, people only worry about affairs, relationships and sex; not the boring trash that the rest of us deal with. It avoids the clichés of furrowed eyebrows over piles of overdue bills to make way for an easy sitcom-esquire romantic tale.

The players in this easy yarn are Tom and Rebecca (David Duchovny and Julianne Moore), a married couple with three young children, and Tobey and Elaine (Billy Crudup and Maggie Gyllenhaal), unmarried but facing much of the same issues as their betrothed friends. Tom is a borderline sex addict, pawing lovingly at his wife as she walks to and from the stage where she works as a famous actress. Tobey is a lazy sports journalist who calls Elaine at her work to ask what a good word would be for "fish lover". Both couples have their respectable problems and discuss them over countless scenes of luncheon and wine. Elaine wants a baby and Tobey is pre-occupied with death as Tom begins to seem bored with his role as a stay-at-home dad. Rebecca seems to have the least worries, but is continually dealing with the dorky flirtation of a young co-worker.

The film progresses much the way a sitcom would, glossing over serious drama with easy humor and wit. Woody Allen has a tendency to do this, but has the grace to fit anxiety, depression and woe into his endless Manhattan charm. Freundlich wants nothing to do with such emotions and would rather invest in chuckles and one-liners. At one point, Tom makes the epiphany that throughout his marriage he's been using humor to mask the real problems that are razing his life. Trust the Man might do well to have the same revelation.

But although Trust the Man might play like a sitcom, it plays like a damn good one. The characters are full and lovable, inhabited by talented actors who know both comic delivery and the faces that spell sadness. And the writing is snappy, rarely missing a beat and striking a chord just below Allen's usual intellectual quirk. David Duchovny is most impressive as Tom, shedding the laconic skin of Agent Mulder for a mellow, droopy-eyed husband with a good-natured wit. The rest are all wonderful too, but don't stray far from their usual casting. It all makes for a quick little snap of a film; one that won't ask for contemplation or analysis, but that instead asks for a belief in a group of snappy New Yorkers living in a breezy, lemon-drop metropolis.

Lousy, stereotypical movie

[Snoopymichele · 4/10 · 24 June 2007]

CONTAINS SPOILERS

This is the kind of movie that I would normally like-great cast, cute premise, gorgeous NYC scenery. But all in all, I thought it was a jumbled mess.

Billy Crudup, woefully miscast as Tobey, a "36 year old slacker," comes off as an effeminate (what was that silliness with Eva Mendes's character in the restaurant???), self-centered jerk who only acts like a decent person when his girlfriend Elaine (a cute and perky Maggie Gyllenhaal) rightfully leaves him. But her new boyfriend is a stereotype of the European pseudointellectual who is one of the most unlikeable characters ever to grace the screen in this decade. Given the choice between the "Sprocket" and her lovesick, obsessed ex-boyfriend, it's no wonder she chooses to go back with a guy who at one time refused to drive her to work because he didn't want to move his car from the opposite side of the street.

Julianne Moore plays Tobey's sister Rebecca, a successful but insecure actress who is married to David Duchovny's stay at home husband Tom. Duchovny, who is a terrific actor, doesn't have much to work with, and his character is so schlubby and whiny you wonder why a gorgeous divorcée (another stereotypical Manhattan newly divorced single mom on the prowl just waiting to pounce on Mr. Mom) and a glamorous actress would want to spend even ten minutes in his company. The irony is that this seemingly asexual man is actually a sex addict who joins a support group called (stereotypically of course) Sexaddictsrus. Of course he makes a mockery of his first session, making up a preposterous story about being wrapped in deli meat in order to be satisfied. Oh, and of course he uses a fake name. Eventually he does come clean and admit that he has a real problem because he can't have a meaningful relationship with his sexy and dynamic wife, and his affair ends just like that. Naturally, his wife forgives him after he pulls a crazy stunt on the opening night of her play, and Elaine dumps her Eurotoyboy after Tobey screams out his undying love for her in the theater on the very same night. None of the issues are ironed out on screen, and a sweet and tidy ending is in store for the viewer who dares to stick it out.

The film was supposedly modelled after the Woody Allen films like Annie Hall and Manhattan, but it's light years away from them because it's boring and the characters are completely unlikeable. The conversations are totally pretentious, with the characters making sweeping generalizations about the nature of their relationships and very existences.

Overall, it's a lousy, stereotypical movie that is a 4 out of 10.

A Fresh Breath of Remembered Air

[Aristides-2 · 7/10 · 24 February 2007]

For this Washingtonian (inland northwest variety), long since removed from Manhattan, Brooklyn Heights, et. al., "TTM" reminded me of how much I still love and miss NYC. And how much I miss the early Woody Allen [1977-87] (though given his most recent few decades of work I didn't need much of a reminder). But this movie is not a copy of any of Woody's work. It is instead a reminder of some human source material that also inspired Woody. Three decades later one can observe and create an urban romantic comedy out of some of the people who live in NYC.

For urban romantic comedy is what 'TTM' is. Not a realistic fictionalized documentary but a skillful satire of the vagaries of four people in two love relationships.

It also has a great plus. No Woody Allen in a leading part.

But the reason I give it 7 instead of 9 stars has to do with the scene set in the theater that pulls and resolves (at least for the now of the fictionalized characters) the story. How on earth could the writer/director Bart Freundlich, after creating such a wonderfully interesting story with its subtleties as well as its more overt humor, write the imagination-stifling theater scene? Should I give him the benefit of the doubt and suggest that one of the money-boys strong armed him into using this banal ending? It doesn't seem possible that the same writer responsible for almost all of the film could write something so asinine.

However, I am able to put this aberration aside and thank Mr. Freundlich for very ably writing and directing a honey of a comedy set in New York City, a valentine to the NYC that I so loved and still do.

An embarrassment to "smart" movies

[jdevriend · 1/10 · 5 September 2006]

This is a movie I went back and forth on seeing. I'd see a commercial and think it would be terrible. Then I'd see the trailer while waiting for another movie and think it would be good. Finally I decided to go. This was a tragic mistake. For a couple of minutes, though, it was looking pretty good. I was getting prepared for an intimate look at how sane, educated people handle adult relationships. Then the opening credits ended and there's David Duchovny, talking to his son while he (the son) is on the toilet and explaining how a fart can be better than a poop. It didn't get any better from there.

Not counting porn, this is the worst-written film I have ever seen. Now there are plenty of badly-written movies out there, but they don't pretend to be anything other than a crude vehicle that gets you to the CGI, stunts, and/or bloodshed. This is even worse than those because Bart Freundlich thought it was going to be about something important, and it's just absolute junk. The characters in this movie do not exist in real life. They have no depth or dimensions or personalities. They are all completely unlikable. (I started applauding when Duchovny tells Billy Crudup's character to shut the hell up. You and me both, David.) They don't talk or think like anyone I've ever come across. They float from wildly expensive restaurant to wildly expensive restaurant and whine about their problems without ever stopping to think that they are the cause of them all. Would you want to sit through an hour and 40 minutes of rich, pampered, pretty white people living in a bubble and complaining about how much their lives suck? I didn't think so.

But wait, there's more. The script makes Maggie Gyllenhaal look like a sniveling, whiny private-school sorority girl. That alone is an art crime against humanity. But considering Crudup is reduced to a one-note death-obsessed Neanderthal, and Duchovny ends up speaking jive during a particularly bigoted note in the script, and the whole thing wraps up like a teen drama on the CW, I think I'm on pretty solid ground with my assertion.

Yes, it only deserves 1 star. I thought to myself: Was there anything of value that I could take from this movie and justify giving it maybe 2 or 3 stars? There might have been, but the movie was such an insult to me and other smart people that I decided it wasn't worth it to figure out what they were.

Lots of fun and who knew David Duchovny could actually act?

[s-oconnell · 9/10 · 13 September 2005]

I saw this film at the Toronto film festival, I wasn't too sure what to expect but was drawn in by a synopsis that included the word 'hilarious' (I was trying to balance out the effect of some darker movies I saw that day) and thought the cast looked interesting.

The movie was well written, quirky and a lot of fun. The biggest surprise of the movie for me was that David Duchovny not only turned in a good performance but managed to be quite humorous along the way. (Spoiler) His visit to a self help group after feeling guilt from a brief affair was particularly memorable (while almost straying into "dear red shoes..." territory).

Billy Crudup's energetic relationship phobic performance is a nice counterpoint to David Duchovny's measured approach and the pair of them play off each other nicely. Julianne Moore and Maggie Gyllenhaal also turn in great performances in their respective long suffering wife / partner roles.

I really enjoyed the movie and had a few belly laughs along the way.

Predictable -

[hokiemo · 6/10 · 21 September 2006]

Trust the Man is probably the millionth movie with infidelity as the plot. For this reason, it needed to distinguish itself with more interesting characters and plot outcomes. Unfortunately, it delivers everything predictably. David Duchovny can't seem to break from his X-files persona -- it is as if Mulder was married to the character Rebecca played by Julianne Moore. Duchovny needs to take on an accent or a twitch or something to distinguish himself between films. Julianne Moore is good but the material is weak. The best 2 characters are Tobey and Elaine. Maggie Gyllenhaal is wonderful in the part of Elaine and I think her career is just blossoming for her. Billy Crudup was also very good and displayed comedic talent that the film desperately needed to keep your attention. Director/ writer Bart Freundlich should have had Duchovny fall for someone unexpected such as a woman many years older, a woman with a terminal illness, etc. Someone who would have added complexity to the plot and a message about love between people. Duchovny falls for a beautiful mother he meets at a daycare center while picking up his son. Such a typical idea you worry it took Freundlich weeks to come up with it. Also, the boy who falls for Julianne Moore is not realistic. I would picture her character falling for a much more sophisticated man and it would have been quite interesting if the man caused her problems when she tried to break up with him. Finally, the ending is silly and embarrassing in my opinion. The main characters are standing around a theater with the audience watching and listening to their every word.

To sum up, I can only see moviegoers seeing this movie if they are fans of one of the actors. No special insights or memories to be gained with this film.

What do you get when you mix clichés, predictability, and phoned in acting?

[iponews · 1/10 · 1 September 2006]

I had heard Trust the Man would be a page out of the Woody Allen catalog. I had also heard words such as 'sophisticated', 'smart', and 'hip' tossed around. What I found were actors trapped in their predictable roles with only rare genuine emotions expressed.

I was very disappointed that one of my favorite actors (Moore) comes off in a very unfavorable light. I'm also curious as to why every couple in this film invented reasons why they should stay together, when clearly there exists no believable chemistry.

Perhaps this movie failed because it was too sweet. Perhaps if it had relied less on wit, and more on authentic marital woes it would have resonated with a broader audience.

Bottom line: The movie is fluff. Woody Allen is not yet out of a job.