The anguish that comes with jealousy has been explored before, most notably by Claude Chabrol in his film L’Enfer. Director Adrian Lyne seems very familiar with this territory, having previously directed Fatal Attraction, Indecent Proposal, Lolita (which I think is better than Kubrick's version), and Unfaithful—a loose adaptation of Chabrol's La Femme Infidèle. Calling Deep Water a rehash feels like an understatement, but it’s probably smart for Lyne to return to familiar ground after such a long absence from directing. Deep Water also seems like a good career move for Ben Affleck; it helps him get back on track following The Way Back, The Last Duel, and The Tender Bar (though Deep Water would have come out before all of those films if not for pandemic-related delays—it’s funny how things play out). This is a movie that allows him to deliver a quietly detailed performance, and he doesn't let the opportunity pass, turning passive aggression into something of an art form. Affleck now joins his close friend Matt Damon in having portrayed characters created by Patricia Highsmith; it’s easy to imagine this as what Tom Ripley’s married life might be like. Ana de Armas is also good as Melinda, Vic's (Affleck) wife—a thoroughly unpleasant woman whose only positive quality seems to be Vic’s unwavering affection for her. He loves her with nearly all his heart. I say “nearly” because it’s implied that his heart might not be able to supply enough blood to a certain other organ, so Melinda essentially has permission to find comfort elsewhere, usually in the arms of younger men who aren't particularly bright. This arrangement isn’t exactly a secret from their friends, since Melinda is also an alcoholic with no sense of self-awareness. Vic publicly shrugs off the situation with a mix of dry humor, understated sarcasm, and self-deprecating jokes—which provides some of the film's best lines—that can suddenly become threatening, especially when he’s alone with one of Melinda’s paramours. Besides Chabrol, Lyne also reminds me of British filmmaker Peter Greenaway—and it’s not just because Vic has pet snails that recall A Zed & Two Noughts. I generally find movies where characters literally get away with murder to be morally questionable; the few exceptions are films like Greenaway's, which don't adhere to conventional morality anyway. In Deep Water, no major character is truly innocent, and they all ultimately receive what’s coming to them—even when, as in Vic’s case, they obtain exactly what they wanted.

Source on TMDB