text: Harold Pinter rewrites Anthony Schaeffer's classic play about a man going to visit the husband of his lover and having it all go sideways. The original film starred Laurence Olivier and Michael Caine. Caine has the Olivier role in this version and he's paired with Jude Law. Here the film is directed by Kenneth Branaugh.<br /><br />The acting is spectacular. Both Caine and Law are gangbusters in their respective roles. I really like the chemistry and the clashing of personalities. It's wonderful and enough of a reason to watch when the script's direction goes haywire.<br /><br />Harold Pinter's dialog is crisp and sharp and often very witty and I understand why he was chosen to rewrite the play (which is updated to make use of surveillance cameras and the like).The problem is that how the script moves the characters around is awful. Michale Caine walks Law through his odd modern house with sliding doors and panels for no really good reason. Conversations happen repeatedly in different locations. I know Pinter has done that in his plays, but in this case it becomes tedious. Why do we need to have the pair go over and over and over the fact that Law is sleeping with Caine's wife? It would be okay if at some point Law said enough we've done this, but he doesn't he acts as if each time is the first time. The script also doesn't move Caine through his manipulation of Law all that well. To begin with he's blindly angry to start so he has no chance to turn around and scare us.(Never mind a late in the game revelation that makes you wonder why he bothered) In the original we never suspected what was up. here we do and while it gives an edge it also somehow feels false since its so clear we are forced to wonder why Law's Milo doesn't see he's being set up. There are a few other instances but to say more would give away too much.<br /><br />Thinking about the film in retrospect I think its a film of missed opportunities and missteps. The opportunities squandered are the chance to have better fireworks between Caine and Law. Missteps in that the choice of a garish setting and odd shifts in plot take away from the creation of a tension and a believable thriller. Instead we get some smart dialog and great performances in a film that doesn't let them be real.<br /><br />despite some great performances and witty dialog this is only a 4 out of 10 because the rest of the script just doesn't work