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woody allen wild man blues, features woody allen and his new orleans jazz band filmed during his 1996 european tour

More actors say they regret working with Woody Allen - …

The Witch Hunt is Coming For You, Woody Allen | Bitch …

NEW YORK — More actors are coming forward to say they regret working with directory Woody Allen
Or: the one with doing his party-trick Woody impression, Leonardo DiCaprio as a bratty A-list star bedding multiple models, and coarse routines with fellatio practised on bananas. It’s the last time Allen collaborated with Ingmar Bergman’s great cinematographer Sven Nyqvist, whose black-and-white vision of this strained media circus is doubtless designed to remind us of La Dolce Vita. But the film’s a bitter pill with negligible insights, and sends Branagh slavering after far too many gorgeous young starlets (Charlize Theron, Famke Janssen, Winona Ryder) for us to be quite comfortable.

Woody Allen’s movies are about Woody Allen

These faux adults of Woody Allen’s have dinner at Elaine’s, and argue art versus ethics
fter 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. A couple of scenes with Bobby and Vonnie together are the most visually beautiful sequences in an Allen film in goodness knows how long. And then there's

 

“I didn’t know back then what I know now

For those of a certain age who grew up in the 1970s and ’80s – Woody Allen’s heyday as a filmmaker – the quintessentially New York Jewish auteur made movies that virtually defined us, or who we wanted to be
epending on your point of view, this huge hit and Oscar Best Picture nominee – Woody’s first in a quarter-century – is either glass-half-full or half-empty Allen: an enjoyable, shiny bauble in which time-travel back to the Jazz Age reveals the grass to be always greener; or a shallow, rather pseudy coffee-table conceit whose present-day characters are cut-out irritants. Adherents to both viewpoints were surprisingly passionate, but there’s not all that much separating them, in truth. Owen Wilson’s jaunty flâneur takes the whole thing in his stride: hard not to, when Allen’s throwing so many easy conquests in his direction.


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: one comic, one tragic. Comic Melinda has much better hair, but her exploits aren’t notably funnier than that of Tragic Melinda, who just turns up the neuroticism to 11 and seems convinced she’s doomed. Will Ferrell and Chlöe Sevigny at least look alive, and it feels like the definition of middling Allen, almost irritatingly watchable until it just stops.


Diane Keaton, Alec Baldwin shock in move to save Woody Allen

Woody’s fourth and, thus far, final London film is a lightly cynical ensemble juggling act, taking in gold-digging, psychic love advice and ambulance-chasing literary plagiarism. 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.

All 47 Woody Allen movies - ranked from worst to best

ometimes Allen has a knack for casting himself ideally, sometimes he doesn’t. Despite his terrible wardrobe, beleaguered variety agent Danny Rose is one of Woody’s most snugly tailored roles: instantly funny, a little sad, and right up at the most endearing end of the characters he’s played. It helps that Mia Farrow, as a girl-next-door with a criminal ex, is such a sweet moll, too: sharp-tongued but vulnerable beneath it. The film is deceptively throwaway, but has a neat nugget of philosophy to cleave to, about loyalty to anyone who has offered you theirs. The warmth of the payoff spreads through you like a ray of sunshine.

List of film auteurs - Wikipedia

It’s a glorious premise, explored by Allen and his cast to dazzlingly funny ends. What gives the film its existential bite, though, is a two-part acknowledgement late in the game: firstly, that the beautiful solace film offers is a lie, and secondly, that it doesn’t matter. Watching it, you feel (and probably look) like Farrow’s heroine: a smiling face in the dark, lit up, flickering, alive.