The opening shot of Adrian Lyne’s Deep Water lingers on Ben Affleck‘s Vic Van Allen, his face a mask of quiet tension as he watches his wife, Melinda (Ana de Armas), dance with another man. It’s a moment that promises psychological depth and marital unease, but the film struggles to deliver on its intriguing premise.

Based on Patricia Highsmith‘s 1957 novel, Deep Water follows Vic, a wealthy husband who turns a blind eye to his wife’s numerous affairs, only for him to become the prime suspect when her lovers start disappearing. The setup is ripe for a Hitchcockian exploration of obsession and deception, but Lyne’s direction often feels more like a throwback to the melodramatic excesses of the 1980s than a fresh take on the material.

Affleck brings a subdued intensity to Vic, playing him as a man trapped in a web of his own making. His performance is anchored by moments of quiet despair, particularly in scenes where he grapples with his wife’s infidelity and the mounting suspicion surrounding him. There’s a palpable sense of loneliness in Affleck’s portrayal, a man who has chosen to isolate himself emotionally, even as he navigates the social whirlwind of his community. However, Affleck’s Vic sometimes feels more like a cipher than a fully realized character. The performance is compelling, but it lacks the nuance and depth that might have elevated the role beyond its surface-level intrigue.

De Armas, meanwhile, exudes a magnetic charm as Melinda, though her character often feels more like a collection of provocative moments than a fully realized person. De Armas brings a playful sensuality to the role, but Melinda’s motivations and emotions remain tantalizingly out of reach. The film’s script, credited to Zach Helm and Sam Levinson, struggles to give Melinda the same kind of psychological complexity that Vic enjoys. She is often reduced to a series of seductive encounters and enigmatic smiles, leaving the audience to fill in the blanks about her true feelings and intentions.

The supporting cast, which includes Tracy Letts as Don Wilson and Kristen Connolly as Kelly Wilson, fares better. Letts, in particular, brings a welcome gravitas to his role as Vic’s business partner and confidant. His scenes with Affleck are some of the film’s most engaging, offering a glimpse into the complexities of male friendship and loyalty. However, even these supporting characters are often sidelined in favor of the central mystery, which feels rushed and underdeveloped.

The film’s strongest moments come when it leans into its mystery elements, particularly in the scenes that hint at Vic’s possible involvement in the disappearances. Lyne stages these sequences with a slow-burn tension that keeps the audience guessing, but the payoff often feels unsatisfying. The narrative meanders through a series of affairs and potential murders without ever fully committing to a clear emotional or thematic throughline.

Visually, Deep Water is polished but uninspired. Lyne’s use of tracking shots and close-ups serves to heighten the drama, but the film’s aesthetic feels more like a stylistic exercise than a purposeful choice. The score, composed by Marcel Ammons, often undercuts the tension with its overly familiar cues. There are moments when the music swells dramatically, only to be followed by a scene that fails to match the intensity of the soundtrack.

The film’s pacing and structure are perhaps its most significant stumbling blocks. Deep Water sprawls across nearly two hours, yet it struggles to maintain momentum. Subplots involving Vic’s business dealings and Melinda’s various lovers feel tangential at best, diluting the central mystery and marital drama. The film’s third act, in particular, feels rushed and inconclusive, as if Lyne and his writers were unsure how to bring their story to a satisfying close.

Themes of obsession, deception, and the fragility of marriage are woven throughout Deep Water, but the film never fully explores these ideas in a meaningful way. Vic’s decision to allow his wife’s affairs is presented as a twisted form of control, but the film never delves deeply into the psychological motivations behind this choice. Similarly, Melinda’s infidelity is treated as a surface-level trait rather than a symptom of deeper emotional turmoil.

Deep Water is a film that seems to be aiming for the same kind of psychological depth and suspense found in Highsmith’s other adaptations, such as The Talented Mr. Ripley or Strangers on a Train. However, it ultimately falls short of capturing the same level of intrigue and complexity. The film’s reliance on melodrama and its inability to fully commit to its mystery elements leave it feeling like a watered-down version of Highsmith’s source material.

That said, Deep Water is not without its moments of interest. Affleck and de Armas share a palpable chemistry that makes their scenes together compelling to watch. The film’s exploration of marital dynamics and the ways in which couples navigate infidelity is timely and relevant, even if it never fully explores these ideas in a meaningful way.

In the end, Deep Water is a missed opportunity—a film with a compelling premise and talented leads that never quite lives up to its potential. It’s a film that will likely leave audiences wanting more, but not necessarily in a good way. For those looking for a psychological thriller with depth and complexity, Deep Water may prove disappointing.