A solid Allen flick, but really just a rehash of his usual tricks, hang-ups and interests. The '30s Hollywood jet set setting is fun, but the pull of New York is forever there and once the film shifts from mood piece to narrative-driven romance it starts to stumble a little. Not a bad film, but once you've seen a couple of Allen films it does get a little predictable.
It's quite interesting that despite all the narrative frivolities, dream sequences and blurred lines between dream and reality, Deconstruction Harry still feels like a pretty regular, run-of-the-mill Woody Allen film. His character and dialogues pretty much overshadow everything else in his films. I generally appreciate his work, but I'm not a true fan.
Classic Allen, though I didn't quite expect to see a real murder mystery. In the end it doesn't even add that much, this is still the big Woody Allen show, with rattling dialogues, cultural references and a light-heartedness that suits the film. I found it quite nice, but like most of his work, it all depends on whether you can stomach Allen's trademark style.
Typical Allen film. If you've seen a couple, especially the famous ones, you'll know what to expect. A jazzy soundtrack, Allen's neurotic self, tons of dialogue and some sly comedy. He also toys with the plot structure, but that wasn't too interesting, neither were all the obligatory references to established artists. Fun though.
Worthy but flawed
I was a bit surprised to bump into this film. With names like Scorsese, Coppola and Woody Allen directing, you'd think the film would be better known. Honestly, I'd never heard of it before. Anthologies are rarely seen as worthwhile films though, so that's probably what's been holding this one back.
Scorsese's short is pretty decent for a Scorsese film, but his attempts to be a bit more artistic feel rather forced and Nolte's performance is too over the top (2.0*). Coppola's entry is probably the weirdest of the bunch as it seems to be targeted at kids (2.0*), luckily there's Allen's film to give this anthology a needed quality boost (3.5*).
Allen's short is by far the most interesting and funny of the bunch. It's also the film that feels the most like "New York". While not a terrible anthology, considering the names involved people would be excused for expecting a bit more. Apart from Allen, the other directors disappoint.
A goofy and ridiculous Woody Allen comedy. I've mostly seen dramatic/romantic comedies from Allen so far, so I was quite curious to see how he would fare making a more straight-forward comedy. The result is a very typical Allen film really, one dominated by his typical cynical and nervous ramblings.
Miles is taken into the hospital after an unfortunate incident, only to awake 200 years later. The future is not quite as rosy as Miles had hoped. Scientists awoke him from his cryostasis to fight an evil dictator. He needs to infiltrate their base, but a romantic fling with a female poet changes his course.
The main attraction of the film is Allen himself. If you don't like him, stay as far away from this as possible. If you love him, there are some good chuckles up ahead. I wasn't a big fan of the cheesy sci-fi elements though, also some of the more slapstick-like scenes didn't really do it for me. A decent laugh, but certainly not his best work.
Cookie cutter Allen film. Another love letter to New York, another romance between some neurotic young ones, another bombardment of cultural reference. Only the cast is slightly different. Chalamet is decent but not remarkable, Fanning is a complete fluke, Gomez is surprisingly decent. One of Allen's less relevant films.
I generally like (but rarely love) Allen's films, but for some reason he had a pretty bad spell during the mid 00s to early 10s. Blue Jasmine is part of that series of disappointing films, lacking the wit and comedy that makes his work stand out. The result is a mediocre drama that is plenty neurotic, but never funny.
Jasmine is a New York socialite who sees her cushy life go up in smoke when her relationship with her husband goes sideways. She moves to California to live with her sister, who is her polar opposite. Jasmine needs time to adapt to her new life, but when she Dwight, things are finally looking up again.
I'm not quite sure whether it is Blanchet's performance or her character that failed to keep me interested, but I just didn't care about her situation. The dialogues are rather drab, the friction with her sister feels a bit too scripted and none of the secondary characters manage to add much. There's still a bit of Allen charm left, just not enough to save the film.