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From October 2010 to October 2011 I revisited each film from writer, director, and actor Woody Allen in preparation for 2011 – the 40th anniversary of the release of what is considered by many to be Allen’s first film, Bananas. Of course he did release a few films prior, but it was Bananas that was the first to begin the yearly string of releases that came to be known as the quintessential Woody Allen film.

 

Allen has for years been one of my top five favorite directors, and looking back at his long career (one film per year for 40 years) it’s really quite astounding.  Sure, it’s true that most of the time Allen doesn’t branch out nearly as much as other filmmakers. But there is a particular and familiar universe that he has created and lives in 99% of the time, and it’s a style all his own, a world where he invites you into every year –  to meet new characters, and the stories they have to tell.

 

My reviewing skills are admittedly not very strong, and the famous quote from Truman Capote – “it isn’t writing at all – it’s typing”  – is never more prevalent than with these short reviews, but none the less this was very fun for me to revisit all these movies again over the past months – and exciting to share at least a few of my basic thoughts to the world (ha!) on one of my top five favorite filmmakers. The timing couldn’t be more fitting as well not only because of the 40th anniversary of Bananas, but because that year saw the release, surprisingly enough, of Allen’s biggest financial success in the United States – Midnight in Paris. These are in order of release, beginning with 1971’s Bananas and ending with 2011’s Midnight in Paris.

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Woody Allen
A Ghostlife Retrospective

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Hollywood Ending

Smack dab in the middle of the string of 3 lackluster films Allen made in the early 00’s, this is probably the best of the three. It still has its cringe-inducing moments where Allen – in his late 70’s – somehow has a magnetism that draws young beautiful women to his side, but one may feel better watching it thinking the absurdity of it all is purposefully written for comedic effect. Due to Allen’s all too public personal life, it’s hard to think that is actually the case. Regardless, and as uninspired and awkward this movie is (and its poor casting: George Hamilton, Treat Williams and Tiffani Amber Thiessen? Really?), Allen’s performance at least draws a fair amount of laughs from his physical comedy – one’s that hardcore Allen devotees will find enough to give this a passing grade. As a writer and filmmaker of Allen’s caliber, this is one of his few that are best saved for last.

D+

2002

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