Unforgettable 2017 is a American drama thriller film directed by Denise Di Novi (in her directorial debut) and written by Christina Hodson. The film stars Katherine Heigl, Rosario Dawson, Geoff Stults, Isabella Rice, and Cheryl Ladd, and follows a divorcée who begins to torment her ex-husband’s new fiancée.
Unforgettable 2017: Is it a pathology or an exaggerated affection?
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.
(Author: Pipe Carrillo Buitrago from Colombia – imdb)
Unforgettable 2017: Ridiculous
Like so many below par movies, you really have to suspend your knowledge that people behave logically for it to work. It’s always a sign of lazy writing when the progression of the plot continually relies on implausible occurrences to advance. There are other problems that arise which are difficult to overlook. There is hardly a scene in the movie that the two women aren’t together. They seem to spend so much time together it’s difficult to believe they’re no related or living next door to each other. Conjoined twins spend less time meeting than these two. Of course none of this seems out of the ordinary to The lead, played by Rosario Dawson. In fact the whole cast seems oblivious to situations and circumstances that are too far fetched for reason that any normal person would flag in five seconds.
Rosario Dawson is really the only outstanding cast member in this film. In spite of the short comings of the film she does a very good job with her role. Katherine Heigl takes stoic mannerisms to the next level with a ‘Wax works’ like performance that would put a store front mannequin to shame. The rest of the cast is reasonable and given Geoff Stults character seems to suffer from some form of dysfunction that renders him oblivious to human feeling and interaction, he does a reasonable job.
The nuts and bolts of this story are nothing new and a bit laboured given it’s all been done before (on numerous) occasions. It isn’t even a particularly good rendition so I’m oddly surprised its been chosen as a remake without anything novel being added. There are no surprises twists or developments you won’t see coming a mile off and actually the pacing here is pretty even from start to finish.
OK as a stand alone movie it isn’t bad. Fatal Attraction is really the standard movies from this category seem to be judged by, but there are others with varying levels of success. If you’ve seen any of them, I would say don’t bother this one, as I said, there’s nothing new to see here. If you haven’t, give it a shot and you’ll probably enjoy it.
(Author: screechy_jim from United Kingdom – imdb)