One of the main reasons to see the new infidelity drama, Married Life, directed by newcomer (though not first-timer) Ira Sachs, is Chris Cooper. He plays Harry Allen, the one at the center of much of the double-crossing that goes on in the story. He's married to Pat (always dependable Patricia Clarkson),sleeping on the side with Kay (Rachel McAdams, here platinum blonde),and his best friend, the womanizing Richard (Brosnan, he's 007 after all even to this day in a near neo-noir) is pining for Kay. He doesn't know what to do (and also doesn't know, apparently, that Pat also has an affair with a mutual acquaintance),as he feels happiest with Kay bit can't bear to break Pat's heart. So, he decides the only humane thing to do is to kill Pat.

Cooper, therefore, embodies this character, a shrewd businessman who finds love in a woman half his age, in a very subtle manner. While the direction is straightforward and the bulk of the performances (Clarkson, Brosnan, McAdams) are as good as they can be in this small ensemble, Cooper is the one to watch here. He will never let on- unless the camera is right on his tense face- that he's lying or deceitful, and his outward calm hides a dark desire for ridding himself of his total suburban drudgery with his significant other. There's so much that Cooper does- as he did in Breach- that elevates this as just another hit into the genre spittoon.

Married Life is above average, if not great, Hitchcock homage, however without the same lift of style (it's more in line with an old-school pulp drama). It allows all of the characters to be complicit, and for the guilt to be so close to the surface you expect it to boil over any moment; that it doesn't is half the fun. Isn't it funny, for example, how little Harry seems to care at all about the dog he buries (I won't say how, but you can guess its significance) and focuses on just the future with Kay? Maybe not, but there's plenty of ironic giggles to be had with these morally bankrupt characters going back and forth behind each other's backs. The actors also make it a near must-see, chewing on the dialog like it's a sandwich from a snappy deli.

At the same time, however, there's some minor disappointment this can't be something of an equivalent to the classics of cynical old. Maybe it's the ending, which I won't reveal except to say that it's a little sunnier (and a little more than a head-scratcher considering common sense with since-childhood friendships). And yet, I can't help but recommend the movie to those who love some sharp, crackling-cum-screwy affairs of the heart in nice clothes and bad minds.

Harry has a big surprise in store for his friend Richard. The invitation to lunch is only an excuse for Harry to reveal to Richard he is in love with another woman, Kay. At the same time, Harry confesses his doubts of how Pat, his wife, will take the news he will be leaving her. Harry strongly believes Pat is too dependent on him and the shock his betrayal will have on her. Harry wants to come clean to Richard, even introducing the young woman to his friend for what appears to be his approval. What Harry does not count on is that Richard will take a fancy to Kay!

Pat, the suburban wife, suffers from a bad stomach. The medicine she takes to relieve her problem presents an opportunity for Harry to plan to murder her. Richard is shocked when he finds Pat at their cottage in the company of another man. She also comes clean to Richard, who realizes Harry's guilt is unfounded and that Pat is much stronger than she is given credit for. Richard, who is the narrator of the story, is instrumental in triggering guilt in Harry's mind, when he catches Kay with the man he thought to be his real friend and makes him think twice before committing a crime that will carry a prison sentence.

Ira Sachs, the director of "Married Life" shows an affinity to the master of the melodrama, Douglas Sirk. The screenplay, co-written with Oren Moverman, has a style that makes the viewer recall that genre in which Mr. Sirk made valuable contributions. Mr. Sachs directed with an eye for style. The late 1940s are recreated faithfully in dining rooms for executives drinking dry martinis and smoking, as well as the decor of the era. The film is a mixture of melodrama and suspense as Harry concocts his plan to get rid of the situation he finds himself in. The film is based on a novel by John Bingham "Five Roundabouts to Heaven".

Chris Cooper plays against type. He is does not appear to be comfortable with the Harry he is supposed to portrait. Patricia Clarkson, on the other hand, proves here she cannot do wrong in anything she plays. Her Pat is another triumph for the actress. Pierce Brosnan makes an excellent Richard, working with great economy to show what this man is like. The only disappointment is Rachel McAdams who appears to be much younger for both the men she is to be attracted. Appearing as a blonde, she fits well in the context of the story even if one cannot believe for a moment she feels anything for either man in love with her.

It's 1949. Harry Allen (Chris Cooper) tells his friend Richard Langley (Pierce Brosnan) about his affair with war widow Kay Nesbitt (Rachel McAdams) while leaving his wife Pat (Patricia Clarkson). Kay joins them and Richard immediately becomes smitten himself. As Richard grows closer to Kay, he also discovers that Pat has an affair of her own. Harry is desperate to be with Kay and decides to poison Pat.

This has a great cast but the mannered acting annoyed me. The dialog and pacing starts off as a grind. The Brosnan narration also bugged me. There is a lack of intensity despite its subject matter. It's not until the poisoning plan at around thirty minutes when the tension gets increased. In general, I want this to be better.