When a movie has you begging for it to end not even half way through it's pure crap. We've all seen this movie and this characters millions of times, nothing new in it. Don't waste your time.

Let me be very fair here, this is not the best movie in my opinion. But, this movie is fun, it has purpose and is very enjoyable to watch.

Actress is magnificent and exudes a hypnotic screen presence in this affecting drama.

It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties. It's a feast for the eyes. But what really makes this dramedy work is the acting.

To me this film is essentially your average made-for-TV production that isn't really memorable in one way or another. I'm not going to go into the acting, direction or overall plausibility of the storyline as other reviewers have except to say that this movie is basically a telling of the real life relationship between President John F. Kennedy and a Washington socialite named Mary Pinchot Meyer.Meyer had been introduced to Kennedy some years back through various acquaintances, namely Ben Bradlee of the Washington Post fame who at that time was a reporter for Newsweek magazine and Bradlee was in fact married to Mary's sister, Tony. Mary Meyer had in fact been married to a CIA operative named Cord Meyer who as portrayed in this movie was once the idealistic and now cynical and alcoholic ex-husband still looking for a chance to reunite with his wife. Mary was also indeed an exceptionally attractive woman in her day and was artistic as depicted in this film by Gretchen Mol's character. The existence of a diary detailing the nature of the relationship with Kennedy was very much real in 1963-1964 for Mary Meyer and upon her death nearly a year after Kennedy was assassinated, CIA operatives were intent on retrieving the diary for the potentially explosive information it contained not only about the affair but also on Agency operations with a view to the idea that JFK shared secrets with Meyer that may have ultimately resulted in his assassination.The plot of 'An American Affair' does indeed follow this real-life story nearly to the letter and the mystery surrounding Mary Meyer's death lingers today for those that believed she knew much more and indeed let on she knew who might have been responsible for the President's death. That is very much implied in this movie, but I can't help but think this could've been such a great film with a better script. It truly has all the ingredients of being a love story, political thriller and mystery wrapped up in one.6 out of 10.

The movie centers on a woman (Gretchen Mol) who has ties to President Kennedy and who is suspected of harboring state sensitive secrets. The Cuban missile crisis becomes the focal point of the movie and her ex-husband and godfather of her child are CIA operatives. Against this backdrop, they inject an early puberty teen who spies on the woman who is his neighbor. The teen tries to become close to his neighbor by working on her garden. The movie was filmed in the Georgetown neighborhood in Washington DC. The locale where the priest is shoved down the steps in Georgetown for the Exorcist movie also is shown in this movie. The movie has a bit of profanity, nudity, and sexuality for the R rating.I was raised in Washington DC and was very young when President Kennedy was assassinated. I attended inner city schools in Washington. This movie appears to have a somewhat anti-parochial school message on the film on how the teen encounters bullying on the school grounds and its depiction of the nuns who teach at the school. I attended an inner city public school and it was not as rough as it was shown for a parochial school back in the 1960s in this movie.The movie leaves one with the message that a conspiracy was behind the Kennedy Assassination and that anyone connected to him were on a "hit list". Strangely, the movie might have even carried the plot if you deleted the teen character. The movie appeared to waffle between being a "coming of age" movie and a Kennedy conspiracy movie.

The scene is 1963 Washington D.C.; the Cuban Missile Crisis is barely old news, Americans still fear the attitudes of the Russians, and the John F. Kennedy administration is still young. The Cold War is still frigid and the dreams of Camelot still in bloom. Thirteen-year-old Adam Stafford(Cameron Bright)endures the plight of bullies, nuns and girls at his Catholic school. His life finds a purpose when he spies on the naked body of his new neighbor across the street. She's blond, she's beautiful and young Adam is overcome with curiosity. Catherine Caswell(Gretchen Mol)is a divorcée, an artist and a woman with a past. Young Adam clicks pictures from his bedroom window and one night makes a startling discovery...Catherine is having a relationship with JFK. Against his parent's wishes, Adam and Catherine nurture a friendship and before long find themselves in a whirling vortex of confusion and mystery leading to the assassination of the nation's youngest President.Captivating intrigue. Witty and poignant. Pasionate awaking. Also in the cast: James Rebhorn, Mark Pellegrino, Perrey Reeves and Noah Wyle. Do yourself a favor and get involved.

COA=Coming of Age. It's a set and somewhat stilted genre by now, and _An American Affair_ does little to change that. Young Adam Stafford is isolated in the all-too-predictable World He Never Made: parochial school, iconic period parents cloaked in gray clothes and rote emotions, and females constantly pushing him away for no clear reason. We get the sense Adam's supposed to be Somehow Special - maybe because he's an only child, maybe because he's the big-eyed, callow, Pure Boy - but he's really just inert, a force to be acted upon by the grown-up world.Gretchen Mol's Catherine is really the only flame of real humanity in the film, the only one not acting out a role of someone acting out a role. The actor who brought Betty Page back to life a few years ago had matured fascinatingly since her days as a pretty bauble. Now we see her without the black wig and fetish gear, and she's a real presence. Her role as Sexy Bourgeoise Bohemienne is contrived - cool jazz, drugs, and a patently silly finger-paint ballet with Adam - but she has a genuine emotional vulnerability that most of the film lacks. The subplot of neighbor Catherine's involvement with Jack Kennedy - who apparently will talk to the CIA only through her - is not well integrated. As a result, it feels obligatory, as if it's there to beef up the COA story (and perhaps add a little commercial zing). It does provide a counter-irritant to Catherine's sensuality in Lucien and Catherine's ex Graham, the Agency men easily reduced to masculine role-icons. Lucien is so buttoned up he seems almost deliberately awkward, and Graham taking what we're supposed to believe are the only outlets from his masculine role - drinking and rage towards Catherine. Director Olsson is, of course, working with archetypes - Cold War Washington folk - but he never lets them get beyond their icon status. Particularly telling is his handling of the JFK assassination moment - the parochial school kids left to stand pointlessly in line as all the sisters gather at the television. The news is spread only by Adam, the special boy, who whispers to the pupils - and a silent overhead shot as they scatter like birds in a Paris park. Again, a dance of roles and distance, too stylized by half. Here's a hint, Mr. Olsson: Camelot wasn't so long ago that you have to play it as somber as a medieval allegory. (What does it say that _The Tudors_ had more men in crew cuts than your vision of 1963?) People - CIA men maybe excepted - did approach one another as people, and European directors often miss that American ease. Ironically, that same ease was what made John Fitzgerald Kennedy so irresistible - not just to his many feminine liaisons, but to his country and the world.