Coming out amidst the publicity surrounding Allen and Farrow’s split and his relationship with Soon-Yi, HUSBANDS AND WIVES offers a pointed and timely exploration of marital problems within two couples: Gabe (Allen) and Judy (Farrow, who concludes her collaboration with Allen after 13 films), and their friends Jack (Pollack) and Sally (Davis). The film employs an unusual, somewhat shaky camera style—a departure from Allen’s typical approach—and allows the tense, draining relationship conflicts to escalate. This is fueled by Jack and Sally's sudden announcement of their separation after more than 15 years of marriage. Gabe reacts with composure to this unexpected news, but Judy seems deeply upset, feeling that her closest friend has been concealing issues in her own marriage; however, as Sally later observes, there’s a self-serving element to Judy’s reaction. The revelation prompts Gabe and Judy to examine their own 10-year marriage, where underlying problems begin to surface. Allen introduces another technique here: a mock documentary that reveals characters' inner thoughts through interviews. Gabe admits he has a weakness for “kamikaze women,” until he meets Judy, whom he sees as a master of passive-aggressive manipulation—someone who always gets what she wants. This proves true when Allen’s professor character, Gabe, finds himself drawn to a student named Rain (Lewis), despite being aware of the cliché of a professor and student affair. Meanwhile, Judy helps her newly single colleague Michael (Neeson, who is quite enjoyable) connect with Sally, who becomes angry upon discovering that Jack has moved in with his new lover Sam (Anthony), a young aerobics instructor, just three weeks after their separation. However, the situation grows more complicated because Judy secretly harbors feelings for the gentlemanly Michael, so an inevitable shift will disrupt the established order. Allen’s script, as sharp as ever in exposing the complexities of gender dynamics and monogamy, ultimately provides a morally uplifting conclusion for Gabe (a stand-in for Allen) who has indulged in a kiss with a younger woman he desires, only to reject her advances with dignity—a moment that feels jarringly out of sync with reality. For Judy, her seemingly happy ending hints at Gabe’s understanding of her nature. In my view, this is where the otherwise quite insightful and realistic assessment of modern marriage leaves a somewhat unpleasant feeling, something that has been present in much of Allen's work. What elevates HUSBANDS AND WIVES above his lesser films is the strength of the cast, particularly Judy Davis, who delivers an utterly captivating performance. She portrays Sally’s often contradictory but ultimately revealing emotional states with intensity and truthfulness, while also incorporating humor and wit (her post-coital musings about "hedgehogs and foxes" are hilarious). Marisa Tomei, though excellent in MY COUSIN VINNY (1992), should really give her Oscar to Ms. Davis; it was a clear injustice by the Academy. While no one can overshadow Davis’s performance, Sydney Pollack is also commendable both behind and in front of the camera; his scenes with Lysette Anthony alone are laugh-out-loud funny. Ultimately, however, the storyline involving Gabe and Judy feels less compelling compared to the pseudo-intellectual self-deception and doubt—no wonder Jack and Sally wouldn't confide in them, as they are much more tangled up in their own issues.

Source on TMDB