Allen, Woody

Annie Hall

Studio: Tcfhe/mgm Release Date: 08/05/2008 Run time: 93 minutes Rating: Pg

Annie Hall is one of the truest, most bittersweet romances on film. In it, Allen plays a thinly disguised version of himself: Alvy Singer, a successful--if neurotic--television comedian living in Manhattan. Annie (the wholesomely luminous Dianne Keaton) is a Midwestern transplant who dabbles in photography and sings in small clubs. When the two meet, the sparks are immediate--if repressed. Alone in her apartment for the first time, Alvy and Annie navigate a minefield of self-conscious "is-this-person-someone-I'd-want-to-get-involved-with?" conversation. As they speak, subtitles flash their unspoken thoughts: the likes of "I'm not smart enough for him" and "I sound like a jerk." Despite all their caution, they connect, and we're swept up in the flush of their new romance. Allen's antic sensibility shines here in a series of flashbacks to Alvy's childhood, growing up, quite literally, under a rumbling roller coaster. His boisterous Jewish family's dinner table shares a split screen with the WASP-y Hall's tight-lipped holiday table, one Alvy has joined for the first time. His position as outsider is uncontestable he looks down the table and sizes up Annie's "Grammy Hall" as "a classic Jew-hater."

The relationship arcs, as does Annie's growing desire for independence. It quickly becomes clear that the two are on separate tracks, as what was once endearing becomes annoying. Annie Hall embraces Allen's central themes--his love affair with New York (and hatred of Los Angeles), how impossible relationships are, and his fear of death. But their balance is just right, the chemistry between Allen's worry-wart Alvy and Keaton's gangly, loopy Annie is one of the screen's best pairings. It couldn't be more engaging. --Susan Benson

Cassandra's Dream

Studio: Genius Products Inc Release Date: 09/30/2008 Rating: Pg13

Scottish Ewan McGregor and Irish Colin Farrell play two Cockney brothers who get in over their heads when a wealthy relative asks for a favor. Woody Allen's sleek thriller Cassandra's Dream begins in innocent times: Ian (McGregor) and Terry (Farrell) buy a sailboat and name it Cassandra's Dream. But soon Terry falls afoul of gambling debts and Ian falls head over heels for a sultry actress who doesn't take him seriously, leading them to ask their uncle Howard (Tom Wilkinson) for money, which he's happy to give them--if they'll get rid of a man who's going to testify against him. The first half of Cassandra's Dream zips along with short, concise scenes and charismatic performances by the lead lads. Newcomer Hayley Atwell (Brideshead Revisited) is alluring as the actress, while Sally Hawkins (Persuasion) brings warmth and sympathy to the underwritten role of Terry's girlfriend Kate. The second half--as with many of Allen's later films--seems to run out of steam, though there's still much to admire about Allen's clean, unfussy filmmaking. Regrettably, he seems to have lost the ability to sustain his imaginative spark. The weakness is in the writing; too many of the characters are barely sketched and clumsy lines of dialogue jar the ear in otherwise well-shaped scenes. But just when you're ready to throw up your hands, there's a moment of understated grace, in which Allen's simple visuals capture something with crystalline clarity. Cassandra's Dream is a frustrating movie, but it has its rewards. --Bret Fetzer

Match Point

Chris a former tennis pro social climbs into the world of the british upper crust when gets engaged to one of his wealthy tennis students. But chris is not the type to leave well enough alone & soon he falls for nola a sexy american actree who is dating his rival tom chris soon-to-be brother-in-law. Studio: Paramount Home Video Release Date: 08/22/2006 Starring: Scarlett Johansson Matthew Goode Run time: 124 minutes Rating: R

The passion of mad love and the cold calculations of social climbing collide in Woody Allen's Match Point. Former tennis pro Chris Wilton (Jonathan Rhys-Meyers, Velvet Goldmine) stumbles into good fortune when Chloe Hewett (Emily Mortimer, Lovely & Amazing), the daughter of a wealthy businessman, falls in love with him. But when Chris meets Nola Rice (Scarlett Johansson, Lost in Translation), a much deeper passion is stirred--and his desire isn't deterred when he discovers that Nola is already dating Chloe's brother. But when their affair threatens Chris's increasingly cozy lifestyle, Chris begins to consider a drastic solution. Match Point starts deftly and ends with cunning; though the middle bogs down in banal plot mechanics, Woody Allen fans have justly hailed it as a comeback after Allen's last few cinematic stumbles. Despite weaknesses (Allen still seems to have lost touch with the mundane realities of life; his characters operate in a strange, weightless world of wealth and privilege), the strong performances and clean direction carry the movie through. Also featuring Brian Cox (X-Men 2, Adaptation). --Bret Fetzer

Manhattan

Woody Allen Diane Keaton Meryl Streep and Mariel Hemingway star in Woody Allen's extraordinary and funny film that explores the embattled life and loves of a successful New York comedy writer. The breathtaking cityscapes of Manhatten provide the ideal background for the lush music of George Gershwin. A joy for film lovers everywhere Manhatten is a comedy gem from a master of comedy. Year: 1979 Director: Woody Allen Starring: Woody Allen Diane Keaton Michael Murphy Mariel Hemingway Meryl Streep Anne ByrneSystem Requirements:Running Time: 96 Min.Format: DVD MOVIE Genre: COMEDY Rating: R UPC: 027616851154 Manufacturer No: M110923

Manhattan, Woody Allen's follow-up to Oscar-winning Annie Hall, is a film of many distinctions: its glorious all-Gershwin score, its breathtakingly elegant black-and-white, widescreen cinematography by Gordon Willis (best-known for shooting the Godfather movies); its deeply shaded performances; its witty screenplay that marked a new level in Allen's artistic maturity; and its catalog of Things that Make Life Worth Living. But Manhattan is also distinguished in the realm of home video as the first motion picture to be released only in a widescreen version. You wouldn't want to see it any other way. Allen's "Rhapsody in Gray" concerns, as his own character puts it, "people in Manhattan who are constantly creating these real, unnecessary, neurotic problems for themselves, because it keeps them from dealing with more unsolvable, terrifying problems about the universe." It's a romantic comedy about infidelity and betrayal, the rules of love and friendship, young girls (a radiant and sweet Mariel Hemingway) and older men (Allen), innocence, and sophistication. (a favorite phrase is used to describe a piece of sculpture at the Guggenheim: "It has a marvelous kind of negative capability.") The movie's themes can be summed up in two key lines: "I can't believe you met somebody you like better than me," and "It's very important to have some kind of personal integrity." OK, so they may not sound like such sparkling snatches of brilliant dialogue, but Manhattan puts those ideas across with such emotion that you feel an ache in your heart. --Jim Emerson

Sleeper

A fracturously funny look into the future full of one-liners sight gags and jaunty jazz. Awakening in the future allen teams with keaton to stop scientists trying to clone a nose into a dictator. Studio: Tcfhe/mgm Release Date: 09/21/2004 Starring: Woody Allen Diane Keaton Run time: 87 minutes Rating: Pg

If Interiors was Woody Allen's Bergman movie, and Stardust Memories was his Fellini movie, then you could say that Sleeper is his Buster Keaton movie. Relying more on visual/conceptual/slapstick gags than his trademark verbal wit, Sleeper is probably the funniest of what would become known as Allen's "early, funny films" and a milestone in his development as a director. Allen plays Miles Monroe, cryogenically frozen in 1973 (he went into the hospital for an ulcer operation) and unthawed 200 years later. Society has become a sterile, Big Brother-controlled dystopia, and Miles joins the underground resistance--joined by a pampered rich woman (Diane Keaton at her bubbliest). Among the most famous gags are Miles's attempt to impersonate a domestic-servant robot; the Orgasmatron, a futuristic home appliance that provides instant pleasure; a McDonald's sign boasting how-many-trillions served; and an inflatable suit that provides the means for a quick getaway. The kooky unthawing scenes were later blatantly (and admittedly) ripped off by Mike Myers in Austin Powers: International Man of Mystery. --Jim Emerson

Crimes and Misdemeanors

Opthalmologist judah rosenthal has had an affair with dolores for several years and now she threatens to ruin his life if he doesnt marry her. When his brother jack suggests to have dolores murdered judah is faced with a big moral dilemma: destruction of his life or murder. Studio: Tcfhe/mgm Release Date: 09/21/2004 Starring: Martin Landau Woody Allen Run time: 104 minutes Rating: Pg13 Director: Woody Allen

Along with Deconstructing Harry which would follow seven years later, this is Woody Allen's most somber comedy-drama, as well as his most ambitious film of the 1980s. Allen weaves together two central stories about very different groups of Manhattanites, linking them through a mutual friend, a rabbi (Sam Waterston) who's going blind. This image is key to the sometimes ponderous, often clever musings on faith, morals, and vision (or lack thereof) that obsess his deeply troubled and unhappy characters. At its center, the film explores people who, through lack of religious conviction or arrogance, rationalize their awful, selfish acts by presuming that God couldn't possibly be watching.

The central story--a neo-noir of sorts--follows a fortuitous ophthalmologist (Martin Landau, all sweat and grimaces) who faces the prospect of his obsessed mistress (Anjelica Huston) ruining his life by telling his family of their affair. Desperate, the doctor hires his slimy criminal brother (Jerry Orbach) to eliminate the situation, and then suffers overwhelming regret afterwards. The flip tale is more typical Allen. Funnier and lighter, it focuses on an impossible romance between Allen's character and Halley Reed, a film producer played by Mia Farrow. Between Allen and his Hollywood fantasy stands his brother-in-law (Alan Alda, perfectly cast as an obnoxious, successful sitcom producer), who also desires Halley. Allen is Landau's opposite: an honest, struggling documentarian who cares nothing about fortune, suffers in a loveless marriage, and is surrounded by triumphant phonies. The nice-guys-finish-last moral may be as contrived as it is devastating. Yet, when Landau and Allen finally share a final scene during a wedding, their faces, subtle body movements, and contrasting fortunes somehow suggest that indeed God may be blind, and if not, the deity has a very sick sense of humor. --Dave McCoy

Bullets Over Broadway

One of Woody Allen's best films of the '90s, Bullets over Broadway stars John Cusack as a virtual Woody surrogate, a neurotic, Jazz Age writer whose new play sounds wooden and unrealistic to a low-level mobster (Chazz Palminteri) assigned to watch over his boss's actress-girlfriend (Jennifer Tilly). When the hood starts contributing better story ideas and dialogue than what the official playwright can conjure, questions (not unlike those of Amadeus) about the price we pay to make art at the expense of other responsibilities are intriguingly raised. Palminteri gives a very interesting performance as the enforcer waking up to the desperate (and almost feminine) demands of his own creative psyche, and Dianne Wiest (who won an Oscar), Tracey Ullman, Jim Broadbent, and Jennifer Tilly are very funny together playing the ensemble cast of Cusack's play. --Tom Keogh

Big city mobsters and the Broadway stage collide hilariously in this side-splitting all-star comedy that had audiences and critics rolling in the aisles! John Cusack (SERENDIPITY, HIGH FIDELITY) stars as David Shayne, an idealistic young writer who'll do anything to get his first Broadway play off the ground -- even if it means teaming up with the mob! Surrounded by a wacky cast of characters including a gangster's ditzy girlfriend (Jennifer Tilly, LIAR, LIAR), a tipsy actress (Dianne Wiest in her Academy Award(R)-winning performance -- Best Supporting Actress, 1994), and a mob hit man (Chazz Palminteri, THE USUAL SUSPECTS), Shayne's got to pull it all off before the curtain falls and bullets start to fly!

Love and Death

Woody allen plays a russian who is caught up in the napoleonic invasion of his country. Much of the humor comes from the philosophic conversations that people break into in the midst of crisis situations. Studio: Tcfhe/mgm Release Date: 09/21/2004 Starring: Woody Allen Diane Keaton Run time: 85 minutes Rating: Pg Director: Woody Allen

Writer-director Woody Allen's 1975 comedy finds the familiar Allen persona transposed to 19th-century Russia, as a cowardly serf drafted into the war against Napoleon, when all he'd rather do is write poetry and obsess over his beautiful but pretentious cousin (Diane Keaton). A total disaster as a soldier, Allen's cowardice serves him well when he hides in a cannon and is shot into a tent of French soldiers, suddenly making him a national hero. After his cousin agrees to marry him, thinking he'll be killed in a duel he miraculously survives, the couple must hatch a ludicrous plot to assassinate Napoleon in order to keep the coward Allen out of yet another war. Allen and Keaton show what a perfect comic team they make in this film, even predating their most celebrated pairing in Annie Hall. Working so well as the most unlikely of comedies, of all things a hilarious parody of Russian literature, Love and Death is a must-see for fans of Woody Allen films. --Robert Lane

Scoop

An american journalism student in london scoops a big story & begins an affair with an aristocrat as the incident unfurls. Studio: Uni Dist Corp. (mca) Release Date: 01/27/2009 Starring: Scarlett Johansson Woody Allen Run time: 96 minutes Rating: Pg13 Director: Woody Allen

Light and charming, Scoop blends murder, ghosts, and falling in love. While inside of a magician's magic cabinet, aspiring journalist Sondra Pransky (Scarlett Johansson, Lost in Translation) is visiting by the ghost of a dead reporter (Ian McShane, Deadwood) who has gotten a hot tip in the afterlife: A rising young politician named Peter Lyman (Hugh Jackman, X-Men) may be the notorious serial killer who leaves tarot cards by his victims. With the magician (writer-director Woody Allen) in tow, Sondra sneaks her way into Lyman's life--and, despite increasing evidence that the tip is true, finds herself falling in love with him. Scoop is stronger than Allen's last film, the overrated Match Point; moment to moment, scene to scene, it's his most zippy and entertaining movie in years. It still suffers from laziness--Allen seems unwilling to look at the plot's holes and find a way to sew them up--and Allen's own persona, with his now-rote comic stutterings and hesitations, drags on the film's momentum. Despite this, Scoop has flashes of suspense and wit that, in an unknown filmmaker, would be cause for celebration. Also featuring Charles Dance (White Mischief) and Romola Garai (I Capture the Castle), one of the few actresses who can compete with Johansson in lusciousness. --Bret Fetzer

The Woody Allen Collection, Set 1 (Annie Hall/Manhattan/Sleeper/Bananas/Interiors/Stardust Memories/Love and Death/Everything You Always Wanted to Know About Sex But Were Afraid to Ask)

Starting with 1971's Bananas, Woody Allen's second film as director, this set of eight movies includes all of Allen's work as a director up to 1980, when he wrestled with his own popularity in the Fellini-esque Stardust Memories, showcasing the distinctive arc of a filmmaker who moved from lighthearted movies to more serious fare that still remains breathtaking after 20 years. In between those two movies, there are wonderful trips of comedy, tragedy and romance to be had. Everything You Always Wanted to Know About Sex but Were Afraid to Ask is a hilarious set of vignettes based on the popular instructional manual, the most notable a segment featuring Gene Wilder's infatuation with a female sheep. The futuristic Sleeper and the underrated Love and Death showcase Allen at his funniest, especially the latter, which tackles the weighty subjects of Russian novels and Bergman films with adroit parody.

Allen's Oscar-winning Annie Hall is one of the most joyous (and melancholy) romances ever made, with a star-making turn by Diane Keaton and a witty screenplay (cowritten with Marshall Brickman) that remains one of Allen's best. Allen did a 180 with the Bergman-esque Interiors, a sometimes stilted drama that nonetheless presaged the dysfunctional-family drama of films like Ordinary People and featured outstanding performances by Geraldine Page and Mary Beth Hurt, as well as unparalleled cinematography by Gordon Willis. The last two films in the set--the romantic Manhattan and the acidic Stardust Memories--are both gorgeously shot in black and white and represent Allen at the peak of his creative powers, as he wrestles with the meaning of life in terms of both love and art, albeit from different perspectives. Indispensable to any film fan, this boxed set represents nothing less than a landmark of American cinema. --Mark Englehart

Disc 1: ANNIE HALL Disc 2: EVERYTHING YOU ALWAYS WANTED TO KNOW ABOUT SEX BUT WERE AFRAID TO ASK Disc 3: INTERIORS Disc 4: LOVE AND DEATH Disc 5: MANHATTAN Disc 6: SLEEPER Disc 7: STARDUST MEMORIES Disc 8: BANANAS