Call me a philistine or something but the opening five or so minutes and closing couple of minutes are so overwrought, and mostly I attribute that to the score. I get that it's supposed to be in her head, but it's simply way too much. Once Davies settles down for the drama part of it, which is most of it, then it's entertaining and engaging and I got into its specific rhythm which includes many pauses and moments where words and emotions linger in the air. While Weisz and Hiddleston are quite good here, playing a chemistry that is solid and when things fall apart (Weisz's Hester tries to commit suicide and despite trying to cover it up dear Freddie finds it out in the worst possible way) it is effectively harrowing to see unfold emotionally, as is the husband character (Simon Russell Beale, an actor I'm not too familiar with but plays the "regular" chap with a problem connecting with his emotions excellently, which on the flip side Freddie has no problem doing so Hiddleston does that as well), I wish there had been more development of our main character. I wanted to see more of the two of them in their affair, what they did together aside from make love. I know it's all supposed to be what's happening as she's at the end of her rope, but there's not as much definition for her as her male counterparts. That this gets as high a rating for me speaks to how strong Davies definitely is as a director, he gets some magnificent work here, and when he's not overloading the sound mix with the strings there are plenty of quietly affecting moments (and simply great ones - that slow panning shot across the subway platform as everyone is singing 'Molly Malone' during a bombing raid in a flashback is moving for how it shows so much of this world that the people are in before everything is shattered, though not all split apart again). I think this is a good movie, but it never quite soared for me, and this may all just be put on the expectations of seeing a new film by this particular filmmaker who carries a major critical pedigree.

On the plus side, Rachel Weisz' performance was superb. On the minus side, it doesn't matter. There's little to the story, it follows the protagonist as she has a destructive extra-marital affair with a thoroughly unsympathetic man. Through flashbacks some substance is added to the story. But the bottom line is that this film is a painfully drawn out string of melancholic scenes that I found hard to stay awake through. Yes, I'm sure it has deep sociological meaning, but I found following the characters as they wallowed in their misery less than a satisfying experience. I am again reminded of someone standing in front of an empty canvas and praising the perfect juxtaposition of nihilistic expressionism (no, I haven't a cue what that means). But I enjoy being in the minority.

This movie starts brilliantly. Director Terence Davies creates a scene centred around a suicide attempt that is quite beautiful and frightening. It really gets the movie going and gets you interested in the story.Rachael Weisz puts in an accomplished performance as the female protagonist at the centre of a love triangle. She is exceptional throughout and well supported by Simon Russell Beale and Tom Hiddleston.So why didn't I like this movie more? Well, I think the answer lies in the fact that this movie is based on a play, and it shows. The scenes are long, heavy on dialogue, and not much is done with the screenplay to add something extra.I think this would be wonderful to see in a crowded theatre where the dramatic tension could build up with the audience in close proximity to the actors. But on a small screen, it just doesn't work as well. Eventually, it becomes boring. And the oddest thing about it is why, after the fantastic opening, Davies doesn't make more use of cinematic techniques to turn this into a "movie." He obviously had the ability, so why didn't he use it? A shame.

"The Deep Blue Sea" is a tale of adultery from almost the same provenance and time period as the classic "Brief Encounter" by David Lean. In fact, "Sea" is almost what "Encounter" might have been had it been drained of much of its romance, joy and passion. For while, in spite of their obvious misgivings, the couple in "Encounter" clearly enjoyed being in one another's company, the same can not necessarily be said of the lovers here, who seem to share very few moments of genuine joy and happiness throughout the course of their relationship.The 1952 Terrance Rattigan play focuses on Hester Collyer (Rachel Weisz), the young, attractive wife of an elderly judge (Simon Russell Beale) who falls in love with Freddie Page (Tom Hiddleston), an ex-RAF pilot, in post-WW II London. In a bold move for the time, Hester leaves her husband and moves into a flat with Freddie, but we know immediately that things are not going well, for, as the movie opens, we find Hester attempting suicide, with much of the rest of the story exploring, through a combination of contemporary and flashback scenes, how she's reached this low point of desperation.One of the key elements of the Rattigan play is that it is scrupulously fair to all its characters. The author has no interest in casting stones at any of the people involved in the situation, for each is shown to be a fully-realized human being, with all the virtues and flaws that come along with that status. The emotions and relationships remain multi- layered, ambiguous and complex, and writer/director Terence Davies' spare, almost claustrophobic style perfectly captures the airless, dimly lit world these characters inhabit - something akin to a tableau vivant depiction of frustration and unhappiness.As the woman caught between natural lust, a desire for freedom, and the stiff-upper-lipped propriety of the society around her, Rachel Weiscz delivers a thoughtful, moving performance, and she is matched every step of the way by a superb supporting cast. Despite the often drastic changes in social mores that have occurred since the time of the story, "The Deep Blue Sea," with its keen insights into the nature of the human heart, remains universal and relevant to today.