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Tasha Robinson, Chicago Tribune: Married Life is structured like a Douglas Sirk melodrama or a Hitchcock thriller rather than a mystery, but it's a mystery nonetheless, because it's rarely clear what Sachs intends the movie to be. Read more
Andrea Gronvall, Chicago Reader: A macabre comedy of manners with the sting of dry ice, this 2007 ensemble piece captures the social climate of America in the late 40s. Read more
Moira MacDonald, Seattle Times: [Director] Sachs has assembled a stellar ensemble cast, and much of the pleasure of Married Life is watching the subtle detail the actors bring to their roles. Read more
Ty Burr, Boston Globe: Sirk or Billy Wilder could have done something with it. Sachs still has a ways to go. Read more
Carina Chocano, Los Angeles Times: Maybe it is about compromise, after all, because though Married Life has its moments, it's bewildering as a whole. Read more
Peter Rainer, Christian Science Monitor: The cast is first-rate but nothing goes very far in this film. Read more
Lisa Kennedy, Denver Post: Offers audiences movie pleasures, as well as emotionally authentic challenges. Read more
Lisa Schwarzbaum, Entertainment Weekly: Married Life is much more about the enduring relationship between husband and wife than it is about the excitement between husband and girlfriend. Read more
Jonathan F. Richards, Film.com: Sachs combines humor, suspense, and twists of plot that keep the ground shifting under our feet. Read more
Kamal Al-Solaylee, Globe and Mail: A curious, provocative if unsatisfying little movie. Read more
Amy Nicholson, I.E. Weekly: Sachs and Moverman have scripted a potboiler, but unwisely kept the lid on. Their intent is wry philosophical detachment; the effect is a biting social satire gone soggy. Read more
Ella Taylor, L.A. Weekly: Maybe there's nothing more to say and American cinema has finally exhausted its ragging on the most maligned decade of the 20th century. Read more
Kevin Craft, Miami Herald: It oscillates between stale period piece and unengaging melodrama, coyly seducing viewers with the potential it fails to fulfill. Read more
Gene Seymour, Newsday: [The] four principal actors are such worthy vehicles for sustaining the throbbing pace and shifting moods of this chamber piece that it's difficult to single anyone out. Read more
David Edelstein, New York Magazine/Vulture: The movie is a goof on Hitchcock and Sirk -- a period (late forties) soap opera with nasty sexual undertones and the omnipresent threat of murder. Read more
Stephen Whitty, Newark Star-Ledger: Rather than real emotion, the movie stops at irony...It's an entertaining approach, all right, but it does the material no real service. Read more
Joe Neumaier, New York Daily News: This subtle dance around morality is as seductive as the elegantly designed rooms it takes place in, where even the shadows are cozy. Read more
Kyle Smith, New York Post: Just when things should be boiling over, the script goes lukewarm. Read more
Rex Reed, New York Observer: Stylish without being overly stylized, intelligent without being boring, Married Life is a classy throwback to the good old days when subtlety meant something at the movies and watching Hitchcock was a good reason to stay home. Read more
Roger Moore, Orlando Sentinel: It's as dry as the martinis these well-dressed stiffs keep ordering at that perfectly preserved oak, leather and velvet bar before hopping into their vintage convertibles. Read more
Steven Rea, Philadelphia Inquirer: This quiet, closed-in picture with its unsurprising twists and turns, lacks the steamy passion of its pulp roots. Read more
James Berardinelli, ReelViews: Married Life has enough plot twists and moments of high tension to keep the viewer engaged, but the main points of interest are the characters. Read more
Roger Ebert, Chicago Sun-Times: You may not like it if you insist on counting the deck after the game and coming up with 52. But if you get 51 and are amused by how the missing card was made to vanish, this may be a movie to your liking. Read more
Mick LaSalle, San Francisco Chronicle: It's strange. It's different. It's arresting, and it's definitely intentional. Ira Sachs knew what he wanted to do, and he's a talent worth watching. Read more
Dana Stevens, Slate: A playful riff on film noir that starts by upending every '40s movie cliche. Read more
Colin Covert, Minneapolis Star Tribune: The story is original, the characters complex. Read more
Peter Howell, Toronto Star: It's strange how a movie with this many different things happening could be so dull. Read more
Richard Corliss, TIME Magazine: It's only about as interesting as...married life. Read more
Paul Fairclough, Time Out: It looks beautiful, and the convoluted plotting is initially the right side of Hitchcock pastiche, but the central conundrum is teased out over so many twists and false climaxes that ultimately it's a shrug, not a shock, which greets the denouement. Read more
Todd McCarthy, Variety: Pic is dramatic but lacks a dynamic; one can sense the director's intent and affection for the form, but also see that working in this stylized vein does not necessarily come easily for a filmmaker of his hitherto more naturalistic tendencies. Read more
Desson Thomson, Washington Post: Married Life is an engaging romance noir, a sort of updated The Postman Always Rings Twice that packs its surprises into four characters, none of them predictable. Read more