Tag Archives: Woody Allen

Oscars Liveblog: Highlights

JOCELYN HOPPA: Alright, kids. It’s the 84th Academy Awards. I’ve got a bag of bold party Chex Mix and a sharpened tongue… let’s do this. Who will win? What will they say? What pills will they have ingested beforehand? It’s thrilling. Please feel free to pontificate on the finer (and not so finer points) of this annual film celebration in the comments section below, as it’s really all just commentary. Continue reading

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Modern Family: Week 5 in Review

KIP MOONEY: Misdirection. It’s a form of comedy that, if done well, puts you in an elite group with the Marx Brothers, Mel Brooks, and the ZAZ team. While I don’t know if I’d necessarily call tonight’s episode “time capsule comedy,” it certainly used misdirection at series-best level. When it’s all said and done, this is probably going to be one of the top 10 episodes ever produced.


HOWARD MEGDAL:
Agree here with Kip- excellent use of guest stars (though poor Jennifer Tilly has not aged well.)
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Review: Midnight in Paris

SONIA BRAND-FISHER: What would it be like to, say, go back in time to not just another era, but to the era that you think that you were born to belong in? Would you meet literary and artistic legends that could give you feedback on the dilemmas that plague your present day? Would they speak like they write? Would they talk like they paint? Would you stay, if you could? Woody Allen explores the realms of fantasy that encourage Gil Bender, played by Owen Wilson, to face such questions and caricatures in “Midnight in Paris.” Continue reading

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Woody Allen, Sans New York

AKIE BERMISS: As far directors go, there is probably no living director who is more synonymous with New York than Woody Allen. A majority of his movies pay deference to the great city and in turn we — the people of this city — pay Allen deference as the guy who can really shoot a New Yorker’s movie. And yet, as a the New York Times pointed out last week, several of Allen’s recent movies have been made abroad. So, it begs the question: what gives?

HOWARD MEGDAL: Akie is right, and let’s start with the understanding that Whatever Works is one of the lesser recent films Woody Allen made, a pale echo of the vital Vicky Cristina Barcelona. So New York is not the magic ingredient to making his films good recently. Continue reading

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Reviews: You Will Meet A Tall Dark Stranger

SONIA BRAND-FISHER: I’m not going to lie and say I have a completely unbiased opinion of the films of Woody Allen. I have never seen a work of his that I have not liked, and as a result I always expect his films to put me in a good, or at least reverent mood.


HOWARD MEGDAL:
Like Sonia, I view every Woody Allen film as an event. Back when he released a series of films on Christmas Day, I let those be my chance to connect to the Jewish community at large between meals at Chinese restaurants. (Why synagogues don’t have film showings on Christmas is beyond me.)

Still, with that handicap, I believe this film is worth seeing even for the less-than-obsessed Woody Allen viewer. The film fell a bit short of Vicky Cristina Barcelona for me, though well ahead of Whatever Works. Continue reading

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Woody Allen: Greatest Director?

HOWARD MEGDAL: Don’t get me wrong: Woody Allen’s last decade has not been his strongest. Only Vicky Cristina Barcelona is likely to make its way into the pantheon of his films, while some others- I’m looking at you, Anything Else- are best forgotten entirely.
THOMAS DELAPA: Allen is definitely in the pantheon in American film, but “finest”? That’s a huge statement. Better than Orson Welles, John Ford, Howard Hawks, Stanley Kubrick, Martin Scorsese and perhaps the greatest director ever, Anglo-American Alfred Hitchcock? Continue reading

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Two Views of Whatever Works

HOWARD MEGDAL: Whatever Works didn’t.

AKIE BERMISS: All in all, it was a great film. And I DO mean film. Not a movie. Allen is a composer and his compositions betray his talent and dedication to craft. Much of what we find to be funny today owes its success to Allen’s wild invention days of the 70s. His anti-hero schlubbs, his idiosyncratic way of making New York a character in the story, his snappy dialogue — and on and on. Continue reading

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Arrested Development Movie: Michael Cera: Come On!/Movies are what whores do for money

HOWARD MEGDAL:

I want to get my biases right out on the table: I am a huge Arrested Development fan and a huge Michael Cera fan.

But let’s make this clear: if you are the reason there is no Arrested…

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