top of page

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.

WOODMAN.png

Woody Allen
A Ghostlife Retrospective

everythingyoualways.jpg

Match Point

Woody Allen. Tennis. Scarlet Johansson. I personally couldn’t ask for a better combination, and luckily it turned out quiet well, with Allen making a complete turnaround after his last few semi-duds.  Sure this movie has some over-the-top performance moments, especially from Jonathan Rhys-Meyers as an aspiring English socialite, but at the same time he is perfectly cast for the role. If his performance is intended or not, it’s hard to tell, but it’s cringe-inducing… and perfect. Oh, and did I mention Scarlett Johansson? Some of her scenes could have been written and directed by Allen with a bit less camp, but when the material is right, she shines. This film succeeds when placed in the context of the Woody Allen universe, basically because he’s ventured into new territory. He’s now based his movie in England instead of his New York home, and similar to when he started dabbling in dramas, he’s now trying out “thrillers” – although I say that lightly.  It’s hard for me to judge this movie as a stand-alone entry in the world of cinema, but in Allen’s universe, it’s a refreshing change of pace, and done brilliantly.

A-

2005

Coast-to-coast pop culture + political coverage from one of America's leading jerks.
A division of Ghostlife Industries Ltd.
©2006-2025. All rights reserved.

Thanks, bruh.

bottom of page