As Rifkin’s Festival drones on, the wastefulness grows offensive in a manner that’s unusual even for Allen’s misfires.
For Allen, his new memoir is a form of retreat-as-attack, or perhaps vice versa.
The film’s skittishness is particularly maddening considering that Allen has nothing to artistically prove.
Woody Allen’s Wonder Wheel feels as artificial and unsatisfying as the cotton candy twirling in a vending cart.
The too-dark lensing is an ideal match for Allen’s sequences of marital and amorous discord.
It potently clarifies how our lives are spent distracted from matters of the closest personal significance.
Woody Allen and Joaquin Phoenix’s collaboration on Irrational Man’s antihero is the closest the film gets to a saving grace.
Allen’s most charming feature gets a fine, if unremarkable, Blu-ray from Twilight Time.
The canon cries out for rejuvenation, and so we size up another annual Allen tradition: the commemoration of his greatest hits.
A film of obvious characterizations and even more obvious plot machinations that render its moment-to-moment charms moot.
The question of why one should actually work up any emotional investment in what happens to these people is never really answered, much less asked in the first place.
Dashiell Hammett meets Woody Allen’s Manhattan Murder Mystery in Lawrence Michael Levine’s Wild Canaries.
The rich and deceptively radical The Front is given a justly rewarding transfer, proving that its deft handling of tone can be even more engrossing.
If there’s anything with even the slightest ability to nudge Cate Blanchett’s path to Oscar victory off course, it’s the seemingly endless Farrowgate scandal.
It’ll do for Allen’s completest fans, but Crimes and Misdemeanors merits a more eventful home-video presentation.
There’s a great line in Jules and Jim about fictions that “revel in vice to preach virtue.”
To shove the elephant out of the room right off the bat, two actually relevant things are working against Woody Allen’s chances for a win here.
In order to comprehend Godard’s cinema, Witt claims, it’s first necessary to understand precisely how Godard defines the cinema.
The Unbelievers isn’t as galvanizing as it would like to be.
The film’s box office and critical successes probably mean that its nomination haul won’t end with Blanchett.