Stoutor It's not great by any means, but it's a pretty good movie that didn't leave me filled with regret for investing time in it.

Numerootno A story that's too fascinating to pass by...

Marva It is an exhilarating, distressing, funny and profound film, with one of the more memorable film scores in years,

Scarlet The film never slows down or bores, plunging from one harrowing sequence to the next.

njmollo An American Affair is a shamelessly anachronistic picture. The characters may dress in period clothes but their performances are very much of this era, 2009. There is liberal use of "modern" swear words that feel out of place in a movie set in this period. My first thought was that racial integration looked to be working a charm in this impression of 1960's America, as Black and White students go to class together, hang-out in the playground and even socialise at each others homes. Racism, still so prevalent in modern day America, is not broached in this movie.The picture begins as a point of view of a young student played superbly by the photogenic Cameron Bright. Cameron Bright is this movies saving grace and all the scenes without him feel forced and unnecessary. If it is established to be his view of the world then how can scenes take place in which he is not present and would have no knowledge? The integration of these scenes is forced and awkward.At one point he follows and listens to some evil CIA types. How would he be able to hear such a guarded conversation? Let alone be undiscovered. The scene is utterly implausible. Also the boy takes photos at night of his alluring next door neighbour. How could he do this with a normal 1960's manual camera? Suspension of disbelief is fine if presented plausibly.Finally the famous Washington stairs location that was used so definitively in The Exorcist (1973) makes a conspicuous appearance. This took me out of the movie completely and cheapened any impact of the ending.

Roland E. Zwick Written by Alex Metcalf and directed by William Olsson, "An American Affair" at least earns points for originality. For what starts out as a fairly conventional coming-of-age tale set in 1963 Washington D.C. suddenly turns into a piece of historical fiction when the obligatory older woman 13-year-old Adam Stafford (Cameron Bright) falls madly in love with turns out to be none other than the mistress of President John F. Kennedy himself. Thus, not only is Adam introduced to the wonderful world of raging hormones but to the sociopolitical issues of the day as well.Adam is the son of two journalists who have no clue their child has been peeping into the home across the way, enjoying a full-court view of Catherine Caswell (nicely played by Gretchen Mol), a glamorous divorcée and ex-CIA agent guaranteed to get any healthy young American lad's juices flowing. When Adam introduces himself to her, Catherine hires him on as a gardener, a setup that gives the youngster plenty of opportunity to not only make his move on this prospective conquest but, thanks to her uniquely complicated social life, to have a special behind-the-scenes glimpse into a bit of juicy, albeit undocumented, political history."An American Affair" throws so many disparate elements into the mix - May/December romance (or maybe more like February/August), lurid political melodrama, adolescent wish-fulfillment, cloak-and-dagger espionage, conspiracy-theory speculation - that it can't help but generate a certain fascination, even when the story itself is not all that convincing or the passion for the subject not everything it could be (this applies mainly to the first half).All the "Summer of '42" stuff is, ultimately, far less compelling than the political details of the period, steeped as they are in Kennedy-era glamour and paranoia, with larger-than-life figures acting out a torrid little soap opera in the foreground, while shadowy figures (mainly Cubans and CIA agents) skulk around in the background. The scenes surrounding the assassination are treated with subtlety and restraint, making them all the more heartbreaking and poignant for those in the audience who lived through the experience. In fact, the whole last half hour of the film achieves a haunting sadness that finally penetrates to the very marrow of one's bones.The movie certainly won't solve the puzzle as to "Who killed JFK?," but it has some fun trying to piece it all together.

paulwl 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.

TxMike In 1963 I was a senior in high school. Later in 1963 I was a freshman in college. It was there, on my way to or from the cafeteria that I learned our President was shot.This movie, set in that time, brings back good memories for me, not that things were necessarily great in 1963, but because none of us will ever see 1963 again, time passes so quickly.In this fictitious account Gretchen Mol is Catherine Caswell, 30-something and divorced from her CIA husband. Catherine knows John Kennedy, she really "knows" him, and at times he comes to visit her during the night.Cameron Bright, about 15 during filming, is teen Adam Stafford, going through the raging hormone stage. Adam's bedroom window happens to be right across from Catherine's windows, and at night he often catches a glimpse of her. One night after quite a nice, partially nude glimpse, he takes to being very nosy. As in intercepting her mail, steaming it open, to find out more about this mysterious woman who seems to delight in that she can turn on a teenager.All this leads to Adam getting a job taking care of Catherine's yard, with a fringe benefit of becoming her friend. Overall the movie is more about Adam's coming of age (although he never gets close to sleeping with Catherine) than of Catherine's alleged affair with the President. In addition there is a subplot to get and destroy her diary which certainly would have sensitive matter in it.Good movie, better than the IMDb rating would indicate, in my judgement. Mol is an under-appreciated actress, beautiful and always delivers a memorable performance.