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David Poland

By David Poland poland@moviecitynews.com

Review – Midnight in Paris Is Okay

In the 11 years of the new millennium, Woody Allen has made 11 films. Up until his latest, Midnight in Paris, one (Vicky Cristina Barcelona) is very, very good, but still couldn’t break into his personal Top 10 all-time. One is good (Match Point). And the other eight range from passable to horrible.

The standard is higher for Woody Allen. He’s earned that. The actors are always strong, as actors are drawn to the opportunity to work with the man. The stories… more and more recycling.

His new film, just premiered in Cannes, has a premise that reflects back on the best days of Woody Allen, when intellectual demands on the audience were equaled by belly laughs from the audience. However, in the execution, there is more reliance on the gimmick and the “you’re well educated if you get all these references” than there is in the core story, which is woefully undernourished and centered on Wes Anderson’s favorite underplayer, Owen Wilson, who does disappointed well, but can’t really muster sincere enthusiasm as a movie star actor.

Imagine on of those witty banter quiz shows on NPR, but without the audience to tell people where to laugh. All that would be left would be people who think they are terribly witty awaiting confirmation.

This is how Woody used to present these kinds of shows…

Now, he’s made one.

That said, it isn’t a BAD movie. It has some good jokes. The gimmick of the film does have its charms… for a while. Kathy Bates is solid and Adrian Brody is actually kinda brilliant in his cameo. And male audience will enjoy Rachel McAdams embrace of the shirt dress and Allen’s taste in French women (LĂ©a Seydoux and Carla Bruni amongst them). But it can’t sustain its own enthusiasm for its central conceit, the heft of the message gets blurred in the mess, and as stated before, Owen Wilson just isn’t an interesting central figure. It would have been great for Woody, back in the day. Of the cuff, I think Hanks, Damon, Downey, Eckhart, or Giamatti would all have done it better.

I’m not going to spoil the movie by giving away the premise. Suffice it to say that the message is, “enjoy what you have, live your life, the grass is never as green elsewhere as you think.”

Sure.

Maybe this is the best we should expect from Woody Allen’s fourth act as a filmmaker (Act I. Funny and silly, Act II. Funny and intimately reflective, Act III. Funny and bitter) I’d stop going to his movies, but besides hope, I still need the eggs.

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45 Responses to “Review – Midnight in Paris Is Okay”

  1. actionman says:

    You Will Meet a Tall, Dark Stranger was wonderful and a massively underrated surprise.

  2. JKill says:

    I’m such a hard core Woody lover that I sometimes wonder if it’s even possible for me to be objective about his work. He’s my favorite filmmaker of all-time probably, not just aesthetically but because of the world view he has honed and analyzed and refined over his films, one that is optimistic and real, romantic and bittersweet. Even in the films most seem to derride, I tend to find myself loving them and finding them to be a joy. YOU WILL MEET A TALL DARK STRANGER, for instance, I considered to be great, full of some classic scenes, great performances, and interesting ideas and concepts.

    But because he does what he does every year, without fail, I sometimes think that we take for granted how wonderful he is. He’s not making ANNIE HALL or MANHATTAN or HANNAH AND HER SISTERS everytime at bat but who is?

    EDITED: I fully agree, actionman, on YWMATDS.

  3. Joe Leydon says:

    I will go further: I have always said that Celebrity is one of Woody Allen’s most under-rated films — containing one of Kenneth Branagh’s most under-rated screen performances.

  4. yancyskancy says:

    My minority picks for good Woody movies include ANYTHING ELSE and, yes, HOLLYWOOD ENDING. I haven’t seen one of his films on the big screen since SMALL TIME CROOKS, and I’m still playing catch-up (most recent one I’ve seen is SCOOP).

    I’m hoping MIDNIGHT IN PARIS is as good as Kent Jones thinks it is.

  5. anghus says:

    i love Vicky Cristina Barcelona and Match Point.

    Match Point was my favorite film of that year, 2005 if i remember correctly.

    Everything else this decade has been a labor to watch.

  6. Daniella Isaacs says:

    Gosh, we’re all over the place. I liked YOU WILL MEET A TALL DARK STRANGER, CELEBRITY, CASSANDRA’S DREAM, and WHATEVER WORKS, thought MATCH POINT and VICKY CHRISTINA were both just “eh”, and thought ANYTHING ELSE, HOLLYWOOD ENDING, MELINDA AND MELINDA and SCOOP were almost unwatchable–especially HOLLYWOOD ENDING… Still, I see every darn one in the theater–in the first five days…

  7. leahnz says:

    i’m sick of woody allen. i hate to admit it, but there it is. some of my all-time fave movies are woody, but he’s gone round the bend for me of late – same shit, differnt day. i’ll still go see this tho, because i’m stubborn and don’t easily give up.

  8. scooterzz says:

    fwiw — my love for woody allen died (or at least faded) years ago but ‘paris at midnight’ has renewed my faith…i truly loved this movie and will probably even see it again…

  9. MarkVH says:

    God I hated Match Point.

  10. Rob says:

    I’ll see whatever he does, but I almost gave up after Cassandra’s Dream, which felt like total amateur hour, and includes the line “The boat reeked of booze and pills.” How does a line like that end up in a theatrically released motion picture? Did anyone read it after it was committed to paper?

  11. Keil Shults says:

    I’m almost 33 and went through a huge Woody Allen phase in my mid-late teens, which is not surprising given that I believe I started off with Annie Hall. In no time at all I had seen just about everything he’d done up to that point, and in the late 1990s I was still seeing his new films, even as they were beginning to annoy and even outrage some long-time fans.

    But of his past 11 or 12 films, I’ve probably seen half of them. I barely recall Hollywood Ending, I seem to remember Small Time Crooks being mediocre at best, and I’m pretty sure I’d still find Anything Else to be terrible upon a second viewing. Still, all this buzz surrounding his latest effort, not to mention the interview tidbits that have been surfacing lately, have me feeling like it’s time to buckle down and finally watch the remainder of his filmography. It may turn out to be a depressing experience, but at least I’ll feel that I’ve done my duty as a Woody fan, which is something I still consider myself. And even if he can’t create another Hannah and Her Sisters, it will always be on my DVD shelf (along with 20+ other Allen films).

    P.S. He’s one of maybe two celebrities I ever wrote a letter to in my life, back in the mid 1990’s. A short while later I got a plain manila envelope with my name and address handwritten. I opened it up and it was a black and white postcard of Woody, autographed in black marker. It wasn’t a copy, and though I’m sure it could have been a hired forger’s work, I doubt he’s the type of person to employ such tactics. I still have it framed on my bookshelf some 15 years later.

  12. torpid bunny says:

    I thought Match Point was great. People hated Whatever Works but I thought it was pretty funny and entertaining in a low-stakes way.

  13. Maxim says:

    Well, You Will Meet A Tall Dark Stranger was the most perfect film of last year. David Poland has a terrible taste in everything.

    Put the two together and add the fact that most people loved it and you’ve got a winner.

  14. Krillian says:

    You Will Meet a Tall Dark Stranger felt like leftover parts from other Woody movies.

    I did like Celebrity. I thought Branagh’s aping of Woody was pretty funny. Anything Else, Whatever Works and Curse of the Jade Scorpion are among his worst.

  15. jesse says:

    Interesting to hear people’s thoughts on the last decade or so of second-tier Woody (and I say that affectionately).

    I would also offer that his nineties movies, which sort of got lumped in with his aughts movies after awhile, are mostly great. I’m not a huge fan of Celebrity apart from the photography and the DiCaprio performance, but Husbands and Wives, Manhattan Murder Mystery, Bullets Over Broadway, Mighty Aprhodite, Everyone Says I Love You, Deconstructing Harry, Sweet and Lowdown… what a great run of varied and wonderful comedies.

    As for the past decade: my favorite since 2000 is probably Scoop, which a lot of people seem to hate. I rewatched it recently and while I admit the actual mystery stuff in it is pretty half-assed (Manhattan Murder Mystery has better faux-detective work, and even that is more of a relationship comedy, which Scoop has less of to fall back on), but it’s my favorite Scarlett performance in his movies, and she has wonderful non-romantic chemistry with Allen himself. I just find its little pleasures awfully charming and silly. By happenstance of a drugstore video sale, it’s one of the few Woody movies I have on DVD at the moment.

    Other movies from this period that I consider underrated: Cassandra’s Dream (yes, the dialogue is a little clumsy, but the performances and story are strong), Small Time Crooks (the best of Woody’s late-period broad comedies), and Melinda & Melinda (great Ferrell-as-Woody crossbreed).

    I can see there’s been a groundswell of support for You Will Meet a Tall Dark Stranger; one of my editors even called it one of the best of last year. There’s a lot of interesting stuff in it, but it has a kind of neither-here-nor-there quality he’s been touching upon lately with movies like Vicky Cristina Barcelona, where it’s not really a comedy or a drama or a comedy-drama… just a movie where some stuff happens and the movie sort of shrugs its shoulders in resignation by the end. Vicky Cristina has a more interesting ending in that vein, even though I consider it his most overrated movie of the past ten years or so.

    Basically, I don’t think Match Point or Vicky Cristina Barcelona are anywhere near as great as those who consider them two of his best since whenever, Husbands and Wives maybe? But not because I really dislike them (although I’m pretty mixed on VCB), but because I think his nineties output is terrific and apart from some early-aughts stumbles (Hollywood Ending, Curse of the Jade Scorpion, Anything Else — all have their moments but too much retreat, and feel very first-draft/leftovers-y), his aughts movies haven’t been bad, either. I think there should be a special dispensation once a director has made over, let’s say two-dozen movies. Woody may well hit four-dozen before he’s gone.

    Not that we shouldn’t hold Woody to a decent standard, but I dunno, it doesn’t bother me as much to see a middling Woody Allen picture when another one will be coming out next year. I kind of love that about him, even when I’m sitting through Jade Scorpion. So I look forward to Midnight in Paris, and if it’s not one of his better movies, hey, he’s got a comedy with Ellen Page and Jesse Eisenberg out next year! Sounds fun to me.

  16. christian says:

    Woody Allen is one of America’s few genuine film artists who’s turning out interesting stuff year after year. We will be deprived when he’s no longer making films – will that make folks that don’t appreciate his latest films feel better? He’s written/directed more classics over 4 decades than most filmmakers.

  17. movielocke says:

    While Woody is not a favorite director of mine, he’s done some excellent movies, mostly middling movies, but he’s consistently at least interesting.

    But I would put VCB as one of his top three.

    1. Manhattan
    2. Vicky Cristina Barcelona
    3. Crimes and Misdemeanors
    4. Zelig
    5. Annie Hall

    I think the only major Allen I’ve not seen is the Radio one. can’t think of the name off the top of my head because the word “Radiohead” is blocking any other associations with the word radio right now. lol.

  18. yancyskancy says:

    Maybe it’s a good idea to come late to late-period Woody after all the reviews and think-pieces are in and you’ve more or less forgotten whether any given film was considered a return to form or proof of obsolescence. HOLLYWOOD ENDING strikes me as being not quite on par with ANYTHING ELSE but more consistent than MELINDA AND MELINDA. It has a pretty good premise (though it takes about 45 minutes to kick in!) and a respectable laugh quotient (though few come from the belly). As usual, Allen’s script feels about two rewrites and a polish away from true excellence, which speaks well of his natural talent even as it frustrates us, as though we’re the parents of a child whose report card invariably says, “Woody is working beneath his potential.”

    I kind of like that Woody isn’t afraid to do something slight, like SCOOP, even if the result is middling. I find it painless to watch him reshuffle many of his usual tropes, even to diminished effect, and I’m sure to him it’s just one of his Bob Hope knock-offs, no more, no less.

  19. Hopscotch says:

    Curse of the Jade Scorpion, Whatever Works and Scoop are all dreadful. The WORST movie of the year for each of their respective years. If ANY other person had directed them, Straight to DVD and we would have never heard of them.

    I actually liked the Will Ferrel section of Melinda & Melinda. Enjoyed Match Point, and VCB is just ok…until Penelope Cruz shows up. Her character and performance are delicious, and make the movie.

    Woody just has SO many films for us filmfans to dissect. I for one, love Love and Death. I can always watch that when it’s on. My wife loves Hannah and her Sisters, I just showed her Husbands & Wives, which holds up remarkably well.

  20. Lou says:

    Most “critics” are way too tough on Woody. Even when he makes great films, critics find a reason to dog him. So predictable.

  21. Lou says:

    Whatever Works was a great film, I don’t know what you’re talking about Hopscotch. I give that one a 9 out of 10. To say it was the worst film of the year is laughable.

  22. Hopscotch says:

    Agree to disagree, Lou. Lot of Woody’s films are like that – dividers of the audience.

    another more “recent”. Sweet and Lowdown – LOVE that one. Just well done on all cylnders.

  23. jesse says:

    Wow, Hopscotch. How many movies per year do you see that SCOOP can qualify as the worst of 2006?! (Or even Jade Scorpion for 2002 or Whatever Works for 2009, for that matter.) That probably wasn’t even the worst movie I saw that MONTH, and I don’t see every single movie; usually not more than 150 different new releases.

  24. RADIO DAYS, Movielocke. One of my absolute favorites. I hope the talk of nostalgia that MIDNIGHT IN PARIS is generating begins to approach the emotional resonance of RD. Sad and sweet and really, quite wonderful.

  25. David Poland says:

    Thing about not knowing its Woody when judging his films… no one else would have their films made or distributed if these were them. (was that english?)

    you see bad Woody Allen at festivals all the time… and they go nowhere.

    Regarding this film and the Cannes reviews, I think that the film summons back the best times of Woody Allen just well enough for people to overlook how the film never flows, you never really have a rooting interest, and the ugly American schtick is all too easy. And again… I enjoyed myself well enough. It was no Hollywood Endings. But is it better than “okay?” No. But “okay” under the right circumstances (see: Eastwood) gets overpraised.

    And if you just love this film, great. I’m not insulting you. Love what you love. But objectively on this one… I don’t see much of an argument… aside from Film Comment getting access to Allen and kissing up to a very minor piece of Allen.

  26. lazarus says:

    Lex and I have both mused recently elsewhere about how it’s hard to find any consensus about post mid-90’s Woody, because everyone seems to have a completely different set of likes and dislikes, supposed underdogs they’ll defend, or critically-appreciated titles they find overrated.

    There seems to be no formula for this, no rhyme or reason, either. It’s not like “people who liked Melinda and Melinda and Small Time Crooks will automatically love You Will Meet A Tall Dark Stranger” or “only people who found Match Point overrated will like Cassandra’s Dream”, or whatever.

    Which ultimately is a good thing, no? I read Jesse’s above post and I think it’s great that people can passionately get behind various titles. And that each new film that comes out may hit your own personal sweet tooth when everyone else seems to turn their noses up.

    The bottom line is that David’s opinion should be taken with a giant grain of salt, not because it’s DP, but because every film fan’s taste with these modern Woody films are all over the place. In fact, one can pretty much throw critical consensus out the window when trying to determine each film’s worth, though it is fair to say that something like Vicky Cristina has a lot more fans than Anything Else.

    I’m not going to list my favorites or rank everything from the last 15 years,, but for the record, I agree heartily with Jesse’s love for Scoop (especially re: Scarlett’s comic timing and chemistry with Woody).

  27. christian says:

    “It was no Hollywood Endings.”

    That might be perceived as a good thing, although I think it would have been one of his funniest later pictures without the actual “director going blind” plot.

  28. NickF says:

    My viewing of the recent Woody Allen flicks has depended on the cast, as fickle as that sounds. Vivki, Cassandra, Scoop, were all viewed because of that reason. I’ll do the same with this one.

  29. hcat says:

    I would actually love to see a remake of Melinda and Melinda since it was such a great concept for a movie but just poorly executed.

    And I have a huge soft spot for Whatever Works simply because it is the antithesis of every take the troubled city person out to the country and teach them some down home resposibility film. Move to the city, abandon your faith, explore your kinks- now thats a movie I can get behind.

    Watching an Allen movie is like watching a new simpsons episode or listening to a new Stones album, there are vestiges of the past genius and they sometimes remind you how great they once were, but if they were not a part of a greater body of work they would be completly ignored.

  30. Krillian says:

    Movies that came out in 2006 that were worse than Scoop:

    An American Haunting, The Benchwarmers, Big Momma’s House 2, Black Christmas, BloodRayne, Date Movie, Doogal, Failure to Launch, Freedomland, The Grudge 2, The Libertine, Manderlay, Shadowboxer, Stay Alive, Tideland, Ultraviolet, Underworld: Evolution, When A Stranger Calls, The Wicker Man, The Wild, Zoom…

  31. jesse says:

    The Simpsons comparison isn’t bad, hcat (I can’t speak to the Stones, never being a huge fan of theirs). There are plenty of very good Simpsons episodes in Season 10 and beyond, maybe even a few all-time greats. But the vast majority of the show’s stone-cold classics are in those first 9 seasons (really in seasons 3-8, probably the best six seasons of any TV show ever, but now I’m just getting nerdy).

    The difference is that I’d say Woody reached “Season 10” (of having more occasional greatness) only in the past decade or so, not, say, in 1992 or whatever.

  32. Keil Shults says:

    I think we’re all trying (and failing) to express the same thing:

    Yoko Ono : Beatles :: Soon-Yi : Woody’s Career

  33. jesse says:

    Even if you’re joking, that’s a pretty crummy analogy. (Well, except for the probably unintentional comparison that post-Yoko, the Beatles did some of their best and sometimes most underrated work, as did Woody post-Soon-Yi. But Woody Allen didn’t then “break up” in 1996 or so. And I consider that a good thing.)

  34. yancyskancy says:

    lazarus: I guess you missed that David’s opinion of MIDNIGHT IN PARIS is “objective,” unlike that suck-up Kent Jones. 🙂

  35. David Poland says:

    Yancy… I didn’t say that my review was objective.

    What I did say was that it’s hard to see any objective argument that puts this film high in the ranks of Allen movies.

    And that Film Comment sucked up as a whole after getting special access. And when we read a Film Comment issue – certainly true of most magazines – where they are shown a film early and get a rare interview with the filmmaker, someone then gives a mixed review of the film, much less a pan.

    For myself, I will say that I have become less and less comfortable reviewing films and doing interviews. Hanging onto any shred of objectivity is already hard enough.

  36. yancyskancy says:

    I see the distinction now, David. But this raises the question of whether there is ever an objective argument for ranking a movie (whether high or low). Especially comedy. If I’m laughing and you’re not, is it objective proof that the film is both funny and not funny? I’m just goofing around with semantics now, but you know what I mean.

    And of course, getting early access may have predisposed Film Comment to go easy on the Woodman by assigning the review and interview to someone who genuinely (subjectively) liked the movie, rather than someone who thought it middling or worse. And I assume that’s what you meant, not that Jones just pretended to like it to protect the magazine’s arrangement with Woody or the production company.

  37. Stephen Hunt says:

    No love for Purple Rose of Cairo?

    It’s fun to see that Woody Allen still stirs up a lot of passion in movie lovers. The first one I ever saw was Love & Death, when I was 13, at the mall. I didn’t want to see a movie called Love & Death, but somehow got talked into it. It was awesome.
    He’s been such a huge part of my moviegoing life — and my real one! I actually ended up living in New York for 7 years, and I think it was Woody’s movies that did the trick!
    As far as the last act of his career, well, not so hot but Vicky Christy Barcelona was watchable and Match Point a nice movie adaptation of Crime & Punishment.
    I have low hopes for Midnight in Paris, but love the town, love the director, what the hell —

  38. Not David Bordwell says:

    When I was a college journalist in a previous life, I interviewed Jeff Daniels at a quasi-premiere of GETTYSBURG. I was just getting familiar with his filmography, having been a little too young to see SOMETHING WILD and knowing who he was primarily from ARACHNOPHOBIA. As I was running down the list of films that students would likely know him from, he made extra special sure I mentioned PURPLE ROSE OF CAIRO in my article. He seemed proud of that one.

    But as my wife pointed out years later (every time I tell the story when a Jeff Daniels movie is on), it might have had something to do with shooting DUMB AND DUMBER at the time (still the title that comes up next to his name on the IMDb).

  39. hcat says:

    Daniels named a theater he opened in his hometown ‘the Purple Rose’ because he loved that role so much.

    Jesse, if not the Stones you can insert almost any long lasting rock star or band, Elton John, Billy Joel, Madonna or Sting (who I think could reinvigorate two moriband careers if he would step in as frontman for Van Halen). The later work is checked out because of the affection for the early genius.

    And Allen’s genius lasted a lot longer than most. I would put Bullets as his last masterpiece with sporadic bursts of greatness since then, but looking at the shelf life of other comedy/dramatic directors (Reitman, Oz, Landis, Zuckers, Brest) the only people that have lasted nearly as long as Allen have been Blake Edwards, Mike Nichols and Altman. And each of their careers had been called over numerous times.

  40. samguy says:

    I have a movie buddy who for years no matter what, we’d save the new Woody Allen movie for each other. Than there was “Curse of the Jade Scorpion” and he couldn’t take it so I went to “Hollywood Ending” by myself – and then there were none. About 3 or 4 years ago, we started up again.

    It’s been a challenge but like the William Goldman story about the whore who becomes a virgin with each new moonrise, we keep hoping. We’re hoping that this weekend we become virgins again as well.

    The Woodman’s had enough great flicks – along with some plesent piffles (“Manhattan Murder Mystery” and even “Small Time Crooks”) that we’re willing to give him a shot.

  41. samguy says:

    Oh, BTW while entertaining, “Matchpoint” is really nothing more than a variation of the Martin Landau story in “Crimes In Misdemeanors.” Exhibit A in the case of Woody repeating himself. Exhibit B: recycled jokes in a near perfect “Radio Days.” (Seriously, Keaton & Farrow as singers? Oy.)

  42. Krillian says:

    Woody’s been doing this since the 1960’s, but when you break it down through the decades, the 2000’s was the first where he had more misses than hits, critically.

    I know I saw it but I can’t remember a single thing about Hollywood Ending, other than I didn’t care for it. I have a feeling Julie Kavner was in it…

  43. samguy says:

    Krillian – I think in “Hollywood Ending” his chacter’s son was a punk rocker – outdated and a retread of his first date with Dianne Weist in “Hannah and Her Sisters.” Meanwhile, SPOILERS! DP is right about the Woodman’s latest. “The Lost Generation” segments in 1920’s Paris are pretty good, though you have to have some knowledge of the characters of that period – and even then a lot of people are going to not know who EVERYONE is!

    And one of those characters is Zelda Fitzgerald played by Alison Pill who steals the show when she’s on screen.

    Meanwhile, the contemporary scenes are chock full of retreads from previous Woody stories – the mismatched couple of Wilson & Rachel McAdams that are so poorly matched you wonder how they got past a first date, let alone are on the way to the alter, her father a Republican stereotype, an acquaintance (Michael Sheen in a role previously played by Alan Alda in “Crimes and Misdemeanors” and “Manhattan Murder Mystery”) who McAdams is jonesing for – you get the idea.

    And remember the awful movie with Jason Biggs and Christina Ricci playing junior Woody Allen characters from the 70’s who had a thing for Cole Porter? This one actually HAS Cole Porter as one of the characters. Anin as an added a bonus, a 20 something girl in contemporary Paris who – get this – loves Porter. Ok, maybe I’m simplifying but you get the idea.

  44. Paul O'Neill says:

    To movielocke: I believe the movie you can’t remember is called “Radio Days”! Good luck!

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