Metacritic reviews

Melissa K. Stack’s script has snap and crackle to go with the pop, making this female wish-fulfillment fantasy an “Eat, Pray, Revenge” that delivers the punches that two “Sex and the City” movies never could.

The Other Woman eschews plenty of standard genre expectations to make an unexpectedly friendship-friendly film.

Instead of updating the genre, The Other Woman rehashes it, bringing little more than a few giggles and a dash of glamour to the table.

As it winds its way toward an unexpectedly grisly final showdown, The Other Woman often feels stranded between gross-out comedy, romantic fantasy and distaff psychodrama in a way that compels fascination and impatience alike.

A smiling Cameron Diaz and a weeping Leslie Mann bring a lot to any movie, but they aren't enough to overcome the mix-and-match mania of these proceedings. Girls just wanna have fun, but they'd also like a coherent night at the movies.

Granted, femme-centered film comedies are a thing to cherish, but The Other Woman only gets it half right.

Somewhere around the 60-minute mark, director Nick Cassavetes — whose career makes one wish that John Cassavetes had been a better father — pushes the movie into Tyler Perry territory, with the final third playing as a tone-deaf mixture of wish fulfillment, punishment, and bawdy innuendo.

A female solidarity adultery comedy that's three parts embarrassing farce to one part genuinely comic discharge.

The film is clearly wary of either being too saccharine or taking itself--or the notion of compulsive infidelity--too seriously, though its schadenfreude is unwavering.

Playing like a script that’s been moldering since Diane Keaton turned it down in 1983, The Other Woman is a weak adultery rom-com in which the most authentic performance comes from a non-housebroken Great Dane.