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Don't listen to the negative reviews

A lot more amusing than I thought it would be.

It's fun, it's light, [but] it has a hard time when its tries to get heavy.

I enjoyed watching this film and would recommend other to give it a try , (as I am) but this movie, although enjoyable to watch due to the better than average acting fails to add anything new to its storyline that is all too familiar to these types of movies.

One of good adaptations. For performances - Rupert Everett as the inspired choice for each "translation" of Oscar Wilde universe - but, in same measure, for a sort of freshness of a case of inspired use of the nuances of Wilde humor. A film about a man and his secrets and the prices of confidence. Seductive. And simple. And, maybe, lovely.

Oscar Wilde's exquisite comedy/play, which is also a remake (after the 1947 version from Alexander Korda). adapted by Oliver Parker (whose filmography is noteworthy for other play- turned films such as OTHELLO 1995 and another Wilde's masterpiece, the remake of THE IMPORTANCE OF BEING EARNEST 2002). I'm quite aware of my personal inclination over the glittering cast (a combo with British, American and Australian) may overweigh the intricate screenplay and laudable wisecracks, which turns out to be that it can effortlessly appease my expectations. As I haven't read the original book, I assume it's Wilde himself who should take most of the credit. On the other hand, the dexterity of Mr. Parker's talent should not be overlooked. The satirical overtone of the British milieu is undeniably gratifying judging by the taste of a foreign audience, all the twists thoroughly converge into the pyramidical outburst and unleashes a feel-good sensibility which is smooth but hasty, running at a length of a meagre 97 minute, the sparks is penny-pinching.One sure thing is that the competent cast manipulates a wonderful rendition against the sketchy arrangement, the first time of two of my goddess Moore and Blanchett star in the same film (a second time is a sadly under-appreciated THE SHIPPING NEWS 2001, in which they are two parallel lines), the magnificent good Vs. evil collision alone worths the ticket, Moore unstoppably exudes her elegant malignancies in each frame, dominates the entire picture under her grip despite of her not-so-packed screen time. And Blanchett, on the contrary, hides her lioness prowess and accomplishes an easier job as the forthrightly guileless Lady Gerturde Chiltern. Another victory comes from Lord Arthur Goring, who is winningly played by a chiseled Rupert Everett, he is utterly suitable. But Jeremy Northam and Minnie Driver's roles are tedious and uncanny respectively, forgive my taste and frankness, the latter falls short of appeal from any respect in my humble opinion. I give the film an 8/10, a little bit overrated I must say, but I could not resist the pure charisma from the dynamic verbal battles, especially in a language which I am able to understand.

Jeremy Northam is "An Ideal Husband" who's about to get his clock cleaned by Julianne Moore in this gorgeous rendition of Oscar Wilde's play, also starring Rupert Everett, Cate Blanchett, and Minnie Driver.Northam is Sir Robert Chiltern, happily married to his lovely and adoring wife, Lady Gertrude (Blanchett) and guardian to his unmarried sister Mabel (Driver). He is in Parliament and opposed to an Argentine canal project. Then he is visited by Mrs. Laura Cheveley (Moore) who tries to blackmail him into approving the project. She knows how he gained his wealth and position. If his wife finds out, she'll be devastated. In desperation, he turns to his bachelor friend Lord Arthur Goring (Everett) for help. Goring attempts to help, and for a while, it looks like he made things worse.This witty comedy is given wonderful direction by Oliver Parker, and the production is sumptuous. The actors all underplay, letting the brilliance of the material come through. Especially funny is the scene where everyone is in a different room of Lord Goring's house, with no one aware that the other is present. Most times, you'd see a scene like this with the host a frazzled mess, running around, trying to keep everyone quiet and hidden. Here, Everett never changes his expression and is unflappable, making the situation funnier.Highly recommended as the way a classic play should be filmed.

The acting is OK; the production values are fine - so, what's the problem? - You have to sit through a story about people you could hardly care less about just to hear an occasional "bon mot". And it is a bit amusing - if you're a colonial reveling in the foibles of the English - maybe.Maybe Merchant-Ivory could've done something with this. My upper-lip gets stiffer just at the thought of viewing this again. I don't have the strength. A sturdy Anglophile could sit through this, though.Also, these period/costume pieces leave me searching for the context of the action and I can't help but think of the faded Glory which was the British Empire.