A Mysterious Island Story That Promises More Than It Delivers
Joel David Moore’s Some Other Woman (2023) is a visually polished but emotionally uneven psychological thriller that plays with themes of identity, obsession, and the fragile boundary between reality and delusion. The film introduces Eve (Amanda Crew), a woman who leaves her comfortable city life to join her husband, Peter (Tom Felton), on a secluded island where he’s taken up a new job. What begins as a fresh start soon spirals into paranoia and disorientation when Eve encounters a mysterious woman (Ashley Greene) who seems to be living the life that once belonged to her.
From the start, the premise is compelling. The idea of an isolated paradise slowly turning into a psychological trap offers enormous potential for suspense and symbolism. The tropical island setting, with its bright skies and endless ocean views, acts as an ironic backdrop to Eve’s crumbling sense of self. However, as the story progresses, the tension that should steadily build begins to waver, leading to a film that is more atmospheric than emotionally gripping.
Performances and Visuals Keep the Film Afloat
If there’s one thing that stands out in Some Other Woman, it’s the performances and the striking visuals. Amanda Crew delivers a grounded portrayal of a woman unraveling under emotional and psychological strain. She skillfully captures Eve’s transformation from an optimistic partner into a haunted, uncertain figure questioning her own identity. Ashley Greene’s enigmatic presence as the titular “other woman” injects the story with intrigue — she’s both alluring and unsettling, playing the ambiguity to perfection.
Tom Felton, though given limited screen time, brings a measured subtlety to his role. His detachment adds to the eerie dynamic, making the viewer question whether Eve’s experiences are real or products of her deteriorating mind.
Visually, the film is impressive. The cinematography uses the island’s natural beauty as both a contrast and a trap — paradise slowly morphs into a prison. The director’s use of light, reflection, and mirrors subtly reinforces the film’s obsession with identity and self-perception. There are moments, particularly in the mid-section, where the movie achieves genuine unease through silence, framing, and visual metaphor rather than dialogue.
Where the Story Falters
Despite its aesthetic strengths, Some Other Woman struggles to maintain narrative clarity and emotional cohesion. The pacing is uneven — the setup takes too long, the middle section drifts without focus, and the climax arrives abruptly with limited payoff. The psychological elements that could have made the film haunting instead feel underdeveloped.
The script hints at deeper ideas — the dangers of envy, the loss of autonomy in relationships, and the psychological toll of isolation — but never fully explores them. By the time the final act arrives, the mystery feels muddled, and the film relies on twists that seem clever on paper but hollow in execution. The big reveal doesn’t reframe the story meaningfully, leaving viewers more confused than satisfied.
While the film wants to evoke the disorienting power of classics like Black Swan or The Others, it doesn’t quite achieve that narrative precision or emotional intensity. The result is a movie that feels like it’s always on the verge of saying something profound but never quite gets there.
Direction and Tone
Joel David Moore’s direction shows ambition, particularly in the way he balances style and subtlety. His visual storytelling hints at potential, but the film’s tonal inconsistency dilutes the impact. At times it’s a psychological study, at others a mystery thriller, and occasionally, a surreal fever dream — yet these tones don’t always blend smoothly.
Still, Moore deserves credit for crafting a film that feels visually rich and thematically ambitious on a modest budget. His approach to building suspense through setting and sound is noteworthy, even if the script doesn’t always meet his vision halfway.
Final Verdict: Stylish but Subdued
Some Other Woman is a film that looks and feels like a sophisticated psychological thriller but lacks the narrative depth and cohesion to make a lasting impression. It’s beautifully shot and well-acted, but its storytelling falters under the weight of its own ambition.
For viewers who appreciate slow-burn mysteries with lush visuals and a sense of existential unease, there’s enough here to justify a one-time watch. But for those expecting a tightly woven psychological puzzle or a twist that lingers after the credits, this film will likely leave you unsatisfied.
Bullseye Rating:★★½ (2.5/5 stars)
