No filmmaker’s oeuvre is as conducive to the categorization of ‘major’ and ‘minor’ works as Woody Allen’s. The writer/director/sometimes-actor has churned out a movie a year since 1982, and the question always remains the same: “Will this be Woody’s next masterpiece, or just a pleasant diversion?” Of course, the latter class of Allen film is […]
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“Blue Jasmine” is a type of Woody Allen film that Allen hasn’t made in over a decade: a dramedy that’s more drama than comedy, but isn’t heavily concerned with plot. Perhaps even more than 2011’s “Midnight in Paris,” the movie feels like “vintage Allen,” though I use that term with some level of trepidation because
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In order for an “intertwining stories”-formatted ensemble film to succeed, it must offer engaging characters and/or a compelling overarching thesis to unite each segment. As if all his creative juices were expended on last year’s masterwork “Midnight in Paris,” which achieved both feats, writer/director Woody Allen accomplishes neither in “To Rome with Love,” a turgid,
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“The Amazing Spider-Man” was number 1 at the box office this weekend, with $65m Friday through Saturday and $140m since its Tuesday opening. But you knew that would be the case. The real winners of the weekend were Wes Anderson’s “Moonrise Kingdom” and Woody Allen’s “To Rome With Love,” both in modestly wide bows of
