A Good Lawyer's Wife is the third film from Korean director Im Sang-su, whose previous films, Girls' Night Out and Tears, stirred controversy with their frank portrayals of women's sexual desires. A Good Lawyer's Wife is similarly provocative, but shifts from the worlds of young singles and troubled teenagers to the dysfunctional sex life of one family. The Korean title, which roughly translates to "A Wanton Family," pretty much sums it up, though "jaded" might be a more apt description. Lawyer Yeong-jak (Hwang Jeong-min) ignores his clients, regards his father's impending death as a tiresome inconvenience, and cheats on his wife Ho-jeong (Mun So-ri) with a sexually ravenous young artist (Baek Jeong-rim) who definitely has the upper hand in the affair. Indeed, the film's strength is in its female characters. Yeong-jak's mother (Yun Yeo-jeong) takes up with a septuagenarian boyfriend after the death of her husband, and gleefully regales her horrified son with more details of her newly rejuvenated sex life than he cares to hear. But above all, it's Ho-jeong's movie. Mun So-ri, following up her award-winning performance as a cerebral palsy victim in Lee Chang-dong's Oasis, takes on a very different, but equally challenging, role as Ho-jeong, the neglected wife who explores her sexuality by seducing a horny teenage neighbor. The film's only major flaw is its cynical view of its characters. Like the morally bankrupt New Yorkers in Neil LaBute's Your Friends & Neighbors, Im seems to regard his upper-class Seoul dwellers with a bit too much flippant contempt. While Im is hardly the prudish scold that LaBute is, he hamstrings what could have been a great film about women taking control of their erotic lives by too often turning his characters into cardboard cut-outs of urban ennui.