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Annie Hall or Bananas? Blue Jasmine or Sleeper? Hollywood Ending The curtain-raiser for Cannes in was the definition of a duff opener, pleasing nobody: The punchline explains its Cannes berth: But not even the French loved Hollywood Ending. The Curse of the Jade Scorpion Allen has often shown an interest in stage magic and hypnotism see also: His own performance as a wisecracking insurance investigator hypnotised into jewel theft was one problem, but Helen Hunt doesn't fare much better as the ruthless efficiency expert he wants off his back.

All the film achieves is managing to look lavishly nostalgic for a more sexist era. A previous film version had been made in , and apparently niggled away at Allen for years, though his own take in no sense redeems it: Fox and Julie Kavner have nothing to work with but reheated, three-decades-old schtick. To Rome With Love Credit: They are, in reverse order of wretchedness: It was a big flop.

The reasons are simple: The one redeeming feature, surprisingly, is Allen himself, in the supporting role of an amusingly befuddled stage magician called The Great Splendini. All of these go to his ageing intellectual mentor, a veritable fount of park-bench philosophical witticisms, played by guess who. Go on, have a guess. Woody Allen's best jokes But in his third picture set in London, he goes off-piste, and things come seriously unstuck. Magic in the Moonlight A period frolic on the Riviera promises to be easy on the eye, and this fluffy time-killer is indeed bathed in seductive, slanting light.

But Allen misjudges both the appeal of his main character, an arrogant English stage conjuror called Stanley Crawford, and the ability of Colin Firth to make him bearable, still less engaging. Even setting aside their year age gap, though, the romance here is a non-starter. Josh Brolin is well cast as a desperate novelist, but Gemma Jones has the best of it as the jilted wife of Anthony Hopkins, whose new girlfriend is a tacky ex-hooker Lucy Punch.

Allen, alas, seems above all of his characters here, and inflicts petty twists of fate on them which feel forced and malicious rather than wise or illuminating. Melinda and Melinda Borrowing the Broadway Danny Rose structuring device of a dinner-table anecdote, Woody tells a tale of two hypothetical Melindas, both played by Radha Mitchell, whose gate-crashing of a Manhattan dinner party take different turns: Match Point Credit: Kobal Match Point actually did Allen some favours: Kinder US reviews saw this London-set murder tale as a return to the scabrous morality play of Crimes and Misdemeanors, but it was one afflicted with a telling and insurmountable tone-deafness: Extra debits for those silly ghosts at the end.

Mighty Aphrodite Allen does Pygmalion, complete with a Borscht Belt Greek chorus, although the jumbled, snobbish and emotionally curdled results fall noticeably short of mythic. Mira Sorvino gives an Oscar-winning, eardrum-tightening turn in a thankless role: The second half is a deflating series of slightly snobbish nouveau-riche gags, but Allen and principal co-star Tracey Ullmann manage to sock these over with some zing: Seeking help for a bad back, Alice meets a Chinese doctor whose herbal infusions allow her to turn invisible and thereby spy on her cheating husband , summon up an old boyfriend, soar above the Manhattan rooftops and generally defy the strictures of middle age.

The premise is tightly rigged, though its intellectual reference points Nietzsche and Dostoyevsky again? But an odd, un-Allen-ish lead performance from Phoenix and sunny supporting work from Emma Stone tickle it to life. Sweet and Lowdown Credit: Everyone Says I Love You Allen cast a fond eye back to the Hollywood musicals of his childhood for this all-singing, star-stuffed confection, which follows a clan of wealthy Manhattanites chasing after love in New York, Venice and Paris.

Despite those names it was a commercial flop, and its airiness can sometimes play as insubstantial. But when the film works, it really works: Sleeper The first film in which Allen directed Diane Keaton was also, perhaps not coincidentally, the first film to suggest he had more in him than than madcap, gag-driven comedies.

They appeared in a film together before his directing days. But watched with a generous and forgiving eye, its legendary popularity in the US, it was one of the 10 most successful films of its year still makes sense. And three sequences still burst with visual ingenuity and laughs: That might be because on its release, it already felt like a film out of time: It looks cheap, which is funny in itself, and satire and spoofery are crammed in until it bulges at the seams.

Work is hard to come by, but in the meantime Phil puts Bobby in touch with his secretary Vonnie Kristen Stewart , who offers to show him the sights. After a run of russet-hued collaborations with cinematographer Darius Khondji, Allen is working here for the first time with the venerable Vittorio Storaro, and the change has done him the good.

Read the full review Parodies of Tolstoy, Eisenstein and Bergman rub shoulders with some vintage surreal and bawdy Allen riffs. Radio Days Radio Days is Allen being nostalgic about nostalgia: Allen weaves in further stories of stars and wannabes, muddling memory and fantasy. Take the Money and Run Credit: Allen rushes into this mock-biopic of a hapless serial crook all puns blazing, with concepts pilfered from Chaplin and the Marx brothers, and an arsenal of brilliant sight gags, one-liners and physical comedy routines.

For the sheer comic density of the idea, the marching-band cellist might be the best thing he ever did. Jim Broadbent and Tracey Ullmann both ham it up marvellously as seen-it-all Broadway stars, and Jennifer Tilly scores as the squeaky moll cast to guarantee financing, but the jewel in this ensemble is Dianne Wiest, walking off with her second Allen-derived Oscar as the sublimely melodramatic diva Helen Sinclair.

Manhattan Murder Mystery After the breakdown of his relationship with Mia Farrow, Woody called up some old pals — Alan Alda, Anjelica Huston, co-writer Marshall Brickman, and even long-absent muse Diane Keaton — for this decompression exercise, which is a lovely, elegant diversion: Woody and Diane enter Nick-and-Nora detective mode when their elderly neighbour Lynn Cohen abruptly drops dead.

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Hot foursome student sex at porn party

Annie Hall or Bananas? Blue Jasmine or Sleeper? Hollywood Ending The curtain-raiser for Cannes in was the definition of a duff opener, pleasing nobody: The punchline explains its Cannes berth: But not even the French loved Hollywood Ending. The Curse of the Jade Scorpion Allen has often shown an interest in stage magic and hypnotism see also: His own performance as a wisecracking insurance investigator hypnotised into jewel theft was one problem, but Helen Hunt doesn't fare much better as the ruthless efficiency expert he wants off his back.

All the film achieves is managing to look lavishly nostalgic for a more sexist era. A previous film version had been made in , and apparently niggled away at Allen for years, though his own take in no sense redeems it: Fox and Julie Kavner have nothing to work with but reheated, three-decades-old schtick.

To Rome With Love Credit: They are, in reverse order of wretchedness: It was a big flop. The reasons are simple: The one redeeming feature, surprisingly, is Allen himself, in the supporting role of an amusingly befuddled stage magician called The Great Splendini.

All of these go to his ageing intellectual mentor, a veritable fount of park-bench philosophical witticisms, played by guess who. Go on, have a guess. Woody Allen's best jokes But in his third picture set in London, he goes off-piste, and things come seriously unstuck. Magic in the Moonlight A period frolic on the Riviera promises to be easy on the eye, and this fluffy time-killer is indeed bathed in seductive, slanting light.

But Allen misjudges both the appeal of his main character, an arrogant English stage conjuror called Stanley Crawford, and the ability of Colin Firth to make him bearable, still less engaging. Even setting aside their year age gap, though, the romance here is a non-starter. Josh Brolin is well cast as a desperate novelist, but Gemma Jones has the best of it as the jilted wife of Anthony Hopkins, whose new girlfriend is a tacky ex-hooker Lucy Punch.

Allen, alas, seems above all of his characters here, and inflicts petty twists of fate on them which feel forced and malicious rather than wise or illuminating. Melinda and Melinda Borrowing the Broadway Danny Rose structuring device of a dinner-table anecdote, Woody tells a tale of two hypothetical Melindas, both played by Radha Mitchell, whose gate-crashing of a Manhattan dinner party take different turns: Match Point Credit: Kobal Match Point actually did Allen some favours: Kinder US reviews saw this London-set murder tale as a return to the scabrous morality play of Crimes and Misdemeanors, but it was one afflicted with a telling and insurmountable tone-deafness: Extra debits for those silly ghosts at the end.

Mighty Aphrodite Allen does Pygmalion, complete with a Borscht Belt Greek chorus, although the jumbled, snobbish and emotionally curdled results fall noticeably short of mythic. Mira Sorvino gives an Oscar-winning, eardrum-tightening turn in a thankless role: The second half is a deflating series of slightly snobbish nouveau-riche gags, but Allen and principal co-star Tracey Ullmann manage to sock these over with some zing: Seeking help for a bad back, Alice meets a Chinese doctor whose herbal infusions allow her to turn invisible and thereby spy on her cheating husband , summon up an old boyfriend, soar above the Manhattan rooftops and generally defy the strictures of middle age.

The premise is tightly rigged, though its intellectual reference points Nietzsche and Dostoyevsky again? But an odd, un-Allen-ish lead performance from Phoenix and sunny supporting work from Emma Stone tickle it to life. Sweet and Lowdown Credit: Everyone Says I Love You Allen cast a fond eye back to the Hollywood musicals of his childhood for this all-singing, star-stuffed confection, which follows a clan of wealthy Manhattanites chasing after love in New York, Venice and Paris.

Despite those names it was a commercial flop, and its airiness can sometimes play as insubstantial. But when the film works, it really works: Sleeper The first film in which Allen directed Diane Keaton was also, perhaps not coincidentally, the first film to suggest he had more in him than than madcap, gag-driven comedies. They appeared in a film together before his directing days. But watched with a generous and forgiving eye, its legendary popularity in the US, it was one of the 10 most successful films of its year still makes sense.

And three sequences still burst with visual ingenuity and laughs: That might be because on its release, it already felt like a film out of time: It looks cheap, which is funny in itself, and satire and spoofery are crammed in until it bulges at the seams. Work is hard to come by, but in the meantime Phil puts Bobby in touch with his secretary Vonnie Kristen Stewart , who offers to show him the sights.

After a run of russet-hued collaborations with cinematographer Darius Khondji, Allen is working here for the first time with the venerable Vittorio Storaro, and the change has done him the good. Read the full review Parodies of Tolstoy, Eisenstein and Bergman rub shoulders with some vintage surreal and bawdy Allen riffs. Radio Days Radio Days is Allen being nostalgic about nostalgia: Allen weaves in further stories of stars and wannabes, muddling memory and fantasy.

Take the Money and Run Credit: Allen rushes into this mock-biopic of a hapless serial crook all puns blazing, with concepts pilfered from Chaplin and the Marx brothers, and an arsenal of brilliant sight gags, one-liners and physical comedy routines. For the sheer comic density of the idea, the marching-band cellist might be the best thing he ever did.

Jim Broadbent and Tracey Ullmann both ham it up marvellously as seen-it-all Broadway stars, and Jennifer Tilly scores as the squeaky moll cast to guarantee financing, but the jewel in this ensemble is Dianne Wiest, walking off with her second Allen-derived Oscar as the sublimely melodramatic diva Helen Sinclair.

Manhattan Murder Mystery After the breakdown of his relationship with Mia Farrow, Woody called up some old pals — Alan Alda, Anjelica Huston, co-writer Marshall Brickman, and even long-absent muse Diane Keaton — for this decompression exercise, which is a lovely, elegant diversion: Woody and Diane enter Nick-and-Nora detective mode when their elderly neighbour Lynn Cohen abruptly drops dead.

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3 Comments

  1. Work is hard to come by, but in the meantime Phil puts Bobby in touch with his secretary Vonnie Kristen Stewart , who offers to show him the sights.

  2. Go on, have a guess. A previous film version had been made in , and apparently niggled away at Allen for years, though his own take in no sense redeems it:

  3. Josh Brolin is well cast as a desperate novelist, but Gemma Jones has the best of it as the jilted wife of Anthony Hopkins, whose new girlfriend is a tacky ex-hooker Lucy Punch. But when the film works, it really works: The Curse of the Jade Scorpion Allen has often shown an interest in stage magic and hypnotism see also:

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