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THE WIFE

 
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At Theaters: 8/17/2018 On Video:
Rated: R Length: 1 hr. 40 min.
Internet: None Found Movie ID: 601217
Studio: Sony Pictures Classics
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Storyline Heading
After nearly forty years of marriage, JOAN and JOE CASTLEMAN are complements. At times, a restless discontentment can be glimpsed beneath Joan's smoothly decorous surface, but her natural dignity and keen sense of humor carry her through the rough spots.
DETAILED STORYLINE
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Movie Type (Genre) Heading
Drama
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Cast and Crew Heading
Glenn Close ALBERT NOBBS, HOODWINKED TOO! HOOD VS. EVIL
Jonathan Pryce THE MAN WHO INVENTED CHRISTMAS, HYSTERIA
Christian Slater BULLET TO THE HEAD, THE TEN COMMANDMENTS
Wri/Dir: Bjorn Runge DAYBREAK
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Production Notes Heading
Production Notes
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Content Heading
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Pictures © Sony Pictures Classics ®
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Critic's Review Heading

Roger Ebert Full Review
Good "The Wife” gets juicier and juicier as Joan eventually gives voice to all she's seen and done and unleashes secrets she's held close for too long. Once she does that, she can finally allow herself to come into her own—and the look on Close's finely featured face at the finale suggests she's ready to do just that with a vengeance, and on her own terms. It's a moment of understated triumph.

Rolling Stone Full Review
Very Good Close plays this ignored, pushed-aside woman like a gathering storm, drawing us into the mind and heart of a heroine who's not going to take it any more. The Wife, a funny and fierce showcase for her prodigious talents... You can't take your eyes off her.

Rex Reed Full Review
Good ...The Wife is astonishingly relevant without trying. The performances are first rate, the screenplay adapted by Jane Anderson from the novel by Meg Wolitzer is intelligent, and although it's a resonant narrative without much excitement, the film provides Glenn Close with the kind of rich and meaty role she deserves.

Note: The rating above is our interpretation of what the critic would give this movie based on their review. We are not affiliated with these critic's in any way.

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D ETAILED S TORYLINE
 It's 1993, and Joe is about to be awarded the Nobel Prize for his acclaimed and prolific body of work. Joe's literary star has blazed since he and Joan first met in the late 1950s, when she was a demure Smith student and he, her (married) creative writing teacher. THE WIFE interweaves the midcentury story of the couple's youthful passion and ambition with a portrait of a marriage, thirty-plus years later-a lifetime's shared compromises, secrets, betrayals, and genuine, mutual love. From 1960 to 1993 to our present vantage point of 2018, we observe Joan and Joe Castleman in the context of their times, and ours.

En route to Stockholm for the Nobel Prize ceremonies (aboard the Concorde, still the transatlantic vessel of choice in 1993), Joan and Joe are accompanied by their son DAVID (Max Irons), an aspiring writer in his twenties who feels that Joe belittles his work. Sulky and resentful, David wears his wounded heart on his sleeve. There's another man on board who also wants something from Joe: NATHANIEL BONE (Christian Slater), a journalist who plans to write the definitive biography of Joseph Castleman, authorized or not. To crusty, arrogant Joe, Nathaniel's just a pest to be brushed off, but to Joan, making an enemy of Nathaniel is a risky matter. As always, she's the conciliator between Joe and David, Joe and Nathaniel.

Amid the nonstop round of ceremonial festivities in Stockholm, Joan and Joe are swept into familiar, long-worn roles: Joe is flattered and schmoozed, while Joan stands by his side wearing her quiet smile.

Another familiar, long-worn dynamic plays out in Stockholm as Joe is trailed by an attractive young woman photographer assigned to document Joe's every public moment. Joan recognizes the predictable progression of flirtation and indiscretion that she has stoically overlooked through so many years of Joe's serial infidelities. This time, Joan's had enough. Serving Joe notice that she wants no place on a pedestal as his passive muse; matching wits with a prying Nathaniel Bone; letting her own grievances flare, for once, instead of smoothing over everyone else's problems-Joan finally reaches for self-determination. The Castleman marriage and literary legend will never be the same.

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