Slow pace in the most part of the movie.

Good films always raise compelling questions, whether the format is fiction or documentary fact.

A movie that not only functions as a solid scarefest but a razor-sharp satire.

There are moments that feel comical, some horrific, and some downright inspiring but the tonal shifts hardly matter as the end results come to a film that's perfect for this time.

The narrator was beyond annoying - show, don't tell! It's forgivable if the narrator is there to establish proceedings, or is in fact the main character commenting on his own actions, but neither of those functions were in use, here... If you can't create interest in a character without telling us what he's thinking, your premise doesn't work for me.The storytelling technique made the film as a whole insufferably smug; my opinion is that Baumbach has done much better work, and it's a shame, because I liked Stoltz and Sciorra together. The subject had potential, but was ruined for me by a framing device that only serves to keep the viewer at arms length from the characters, instead of preoccupied with them. I couldn't gain any satisfaction from the optimistic ending, because I was constantly being told who the characters were (or weren't!) instead of being afforded the luxury of discovering them for myself.

If you haven't seen this film yet, just wait a few minutes until IFC shows it again. They seem to like it there.And me, I like it too. I find it to be a really smart, romantic and bittersweet film with a lot of funny moments and genuinely good acting. There is a certain pretentiousness, but it is self-effacing. Eigeman, for instance does a turn on his pompous shtick, adding subtle elements that make him a level-9 fop. Stoltz and Sciorra are perfect together. Jacott is hilarious in just about every scene he's in, particularly his wedding vows.I like movies where the central conceit of the movie does not become the entire movie. Jealousy is a theme in Stoltz's character, but it is not all of what drives him, which I guess is why some people have a problem with the title. Similarly, the plot device of invading someone's therapy group would be used as an entire basis for farce in a less subtle director's hands. Here it is merely another hilarious bit of detail off of which branch many smaller truths.For as much as IFC shows this, I can't stop watching it any time I begin.

Mr. Jealousy while not everyman, is certainly a typical kind of man, especially in today's world of endlessly mixed sexual signals. So convincingly, poignantly, and sympathetically portrayed here by Eric Stoltz, Mr Jealousy hardly allows us to ignore our own (mister's) part in his makeup. We love his humor and sense his pain too.I think it is the wonderful restraint and a great complementary cast that helps bring this home to us. One can fully relax (no squirming, trust me) with the manner and content of this comedy, which makes this film a kind of gem, I think. And the therapy scenes deserve special notice. The opening may be a bit thin, and the ending both thin and forced, but the body is of a different terrain, a bittersweet movie unto itself. (someone think of a better ending!)

A film about relations; you may think: Oh no not an another one, not a Woody Allen remake. Wrong, this is a screwball comedy like the films with Cary Grant en Katherine Hepburn. Makes group therapy slightly ridiculous. Stoltz is great as the jealous lover, obsessed with the past of his present girlfriend.