Love and Death Review- By Michael J. Carlisle

Title: Love and Death
Year: 1975
Director: Woody Allen
Country: US
Language: English

Woody Allen once joked: "I took a speed reading course and read War and Peace in twenty minutes. It involves Russia". He must have picked up something else however, as Love and Death is considered a great spoof on the works of even greater Russian authors like Leo Tolstoy and Fyodor Dostoevsky. Filming the picture would prove much harder than speed reading War and Peace; when they needed good weather, it would rain. When they needed rainy weather, the sun would shine. Allen claimed that the production was chaos due to the cast and crew being of a varying degree of languages, it also didn't help that all except Allen suffered from dysentery during the making of the picture. 

In czarist Russia, a neurotic soldier (Woody Allen) and his distant cousin (Diane Keaton) formulate a plot to assassinate Napoleon (James Tolkan)


"All men live under a sentence of death. They all go sooner or later. But I'm different. I have to go at 6 a.m. tomorrow morning. It would have been 5, but I had a good lawyer"

The quotation that begins the film serves as a bridge between comedy and tragedy. Allen has perfected this curious blend over time; creating films that will bring you to tears while simultaneously bringing in fits of laughter. Love and Death is particularly hilarious because it places the typical Allen character (neurotic, incompetent, cowardly, horny) and puts him as a "pacifist" soldier in 19th Century Russia. His comedy comes from not only language, but slapstick reminiscent of the silent era. In one scene, Allen decides he needs a break from the battlefield, so he hides inside a cannon. The cannon goes off and sends our "hero" flying, inadvertently killing four generals upon landing and making himself a hero.

Allen's onscreen persona, while very neurotic, is very easy to relate to. He's sweet, he wants to do the right thing and  he represents the possibility that simplicity still can prevail in the world. Diane Keaton's character is a shade of grey; not necessarily good nor bad. Her character is more developed and has more room to grow than in previous Allen films where she played merely the foil for his character. Though filled to the brim with comedy, Love and Death is a clear indication that Woody's films were heading into a more philosophical Bergman-esque direction. From this point on he becomes more forthcoming with his angst against a problematic world. His philosophic nuances dominate over his typical comedic tone. 

Love and Death is a fantastic picture that gets the mix between jokes & existentialism just right. Characters break into syllogisms and formal arguments at the most unlikely moments.  Is it morally wrong to kill Napoleon? Perhaps you shouldn't have that discussion when Napoleon is in the room. Intellectual comedy at its roots. Praise it! 5/5

Husbands and Wives Review- By Michael J. Carlisle

Title: Husbands and Wives
Year: 1992
Director: Woody Allen 
Country: US
Language: English

The thirteenth of thirteen pictures Mia Farrow and Woody Allen collaborated on, Husbands and Wives premiered during a difficult time in the couples' lives; they were breaking up after a long relationship. Allen was having an affair with Farrow's adopted Korean daughter Soon-Yi, who was just 21years old at the time. According to Farrow, she made the discovery of Allen’s affair when she found a stack of nude Polaroids taken by him of her daughter. Was Allen and Soon-Yi's relationship built on incest? Not technically, at least from a legal and biological perceptive. Unfortunately the negative press everyone involved has received since then due to the incident has changed public perception. Even though Woody Allen still makes great pictures, his reputation will forever be tarnished. 

When Jack (Sydney Pollack) and Sally (Judy David) announce that they're splitting up, this comes as a shock to their best friends Gabe (Woody Allen) and Judy (Mia Farrow). Maybe mostly because they also are drifting apart and are now being made aware of it. So while Jack and Sally try to go on and meet new people, the marriage of Gabe and Judy gets more and more strained, and they begin to find themselves being attracted to other people.

Hoping to piggyback on the scandal surrounding Woody Allen and Mia Farrow's breakup, TriStar opened Husbands and Wives a week earlier than expected and to more screens (865) than ever given to Woody Allen at the time. As a result they were awarded with an opening weekend of 3.52 million, the biggest ever for the Director until that point in time. Speaking strictly of cinematography, this picture was quite unique looking, mainly because Allen sought out to break all the traditional rules of film-making. He cut scenes at random, used hand-held cameras for no specific reason and would shoot the side and back of the performer's heads. It's visually distinct from the actor's filmography and thus stands out. 

Allen's thought-provoking work dissects the long-term effects of being with the same person for a long time: familiarity, infidelity, stagnation and indifference.  The concept is modeled after Swedish Icon Ingmar Bergman's Scenes From A Marriage (1973) Allen argues that argues is that many "rational" relationships are actually not as durable as they seem, often both partners want to be happy on their own terms. Sometimes it's just a case of "the grass is greener on the other side". Being single can look quite enjoyable when one is married and vice versa. Both couples in the film are really asking the same question: Is this all there is? Must we abandon our fantasies of the perfect partner in order to accept the comfort and truth of our real one? People are very hard to please. Television and films sell us on the idea of a "perfect" partner, one that can fulfill every need, but we forget that "perfection" cannot be obtained. Though we can have a few of the character traits we desire, having all of them is a bit much.

I laughed during the scene where a man lists his perfect woman, but then ends up describing a female version of himself. Far too many people have standards much greater than they can achieve. Allen hits a lot of right notes and makes some very honest observations about people in North American Culture. I'd certainly watch it again. 
Praise it! 4.5/5

Stardust Memories Review- By Michael J. Carlisle

Title: Stardust Memories
Year: 1980
Director: Woody Allen
Country: US
Language: English

When Stardust Memories premiered in 1980, it was disliked by critics and audience members alike. Woody Allen intended the picture to be his 8 1/2, as noted from the very beginning where Allen is trapped in a railroad car which is a direct homage to Marcello Mastroianni trapped in his auto at the start of the Fellini film. It is a more pessimistic picture than the beloved Manhattan, made only a year earlier, and a great departure from the comedies that made him so adored by the public.

Renowned filmmaker Sandy Bates (Woody Allen) is in a professional transition, directing largely comedies early in his career now wanting to direct more serious movies so that he can explore the meaning of life, most specifically his own. Most are fighting him all along the way, including the movie going public, who continually tell him that they love his movies especially the earlier funny ones

Despite the fairly obvious autobiographical tone of the film, Woody Allen  has consistently insisted that this is not an autobiographical picture. Stardust Memories, as well as Interiors (1978) represented a great change in the Director's style, mood and overarching themes. For some time he would explore his philosophical angst while paying homage to great artists like Ingmar Bergman, Federico Fellini and Francois Truffaut. Though his pictures would still be funny, they would be a different kind of funny. His earlier films like Sleeper (1973) and Bananas (1971) relied heavily on the chaos of slapstick comedy. Allen's new brand of comedy was reflective in nature and primarily utilized by speech. 

 Stardust Memories represents Woody Allen's desire to break free from the typecast jokester that the public has tried to make him to be. He is a little cruel towards his fans, portraying many as clueless bimbos and mindless suits, but I could see how he would feel alienated towards people who claim to "know" him but really don't. The film looks quite different than many others at the time, which can be credited towards the unusual editing stylizing by Susan Morse and  Godon Willis' evocative black and white cinematography.

The film perceptively explores the relationships between art and reality, between the artist and his work, between the work and its consumers. While it's not Allen's greatest work, it certainly is thought provoking and worthwhile to view many times. Very few film-makers can mix comedy, tragedy and pathos so well. Praise it! 4.5/5

Broadway Danny Rose Review- By Michael J. Carlisle

Title: Broadway Danny Rose
Year: 1984
Director: Woody Allen
Country: US
Language: English

Of all the Woody Allen films I've watched, Broadway Danny Rose was the hardest to locate. Luckily the distribution label Twilight Time has a limited edition blu-ray which you can find on the Screen Archives Entertainment website for approximately $30 US. Personally, I feel like the 1980's was the Director's boom period. Allen collaborated with his then lover Mia Farrow to create masterpiece after masterpiece. The majority of the pictures were introspective and brooding (Crimes and Masterpieces) but he was also able to make fun chaotic romps. 

In his attempts to reconcile a lounge singer (Nick Forte) with his mistress (Mia Farrow), a hapless talent agent (Woody Allen) is mistaken as her lover by a jealous gangster.

The thirteenth feature film directed by Woody Allen, Broadway Danny Rose is also one of his favorites along with Purple Rose of Cairo. During his relationship with Mia Farrow Woody Allen loved to write roles for Farrow that she had always wanted to play but couldn't because no one would believe her as that particular character. Even though she was already an established actress by the mid-80's most people in the film industry couldn't see the seemingly fragile woman being able to play a convincing Italian woman, but Allen was so sure of her talent that he wrote the screenplay specifically so she could play the part. Remarkably Farrow's performance as Tina Vitale is a real treasure. It's a complete transformation from her usual roles and definitely does show her versatility. 

The main character, Danny Rose, is one of Woody Allen's most touching characters. The skating penguins and singing parrots who are Danny's clients fit perfectly in the world of poor show-biz. Rose is a man with a dream, but has a lot of bumps throughout his struggle to the top. This particular bump (being chased by a jealous gangster) is hilarious. The notoriously neurotic actor/director places his character in a situation where panic would be completely understandable, even welcomed. Among the most gratifying things about ''Broadway Danny Rose,'' which is one of Mr. Allen's more modest films, is the almost flawless dialogue which never lets the story down.

The costumes, this time by Jeffrey Kurland, and the production design, by Mel Bourne, are subtly hilarious throughout. Dick Hyman's score and Susan E. Morse's editing are perfectly apt. And Gordon Willis, again working in black and white, manages to do exquisite photographic work in some very unlikely places. Everything works in this beautiful picture. Praise it! 4.5/5

Vicky Christina Barcelona Review- By Michael Carlisle

Title: Vicky Christina Barcelona
Year: 2008
Director: Woody Allen
Country: US
Language: English

At this point I have seen over twenty Woody Allen films, and have to confess that I feel he is the greatest living Director. His pictures are profound, they are full of intellectual conversation regarding love, life and death. I feel creatively inspired by the end of an Allen picture, eager to write my own screenplay. I was hesitant to watch Vicky Christina Barcelona because I had heard it was mediocre, but I'm happy to report that it was not. Infact Barcelona kept me on the edge of my seat until the credits rolled.

Sexually adventurous Cristina (Scarlett Johansson) and her friend Vicky (Rebecca Hall), who is bright but cautious, holiday in Barcelona where they meet the celebrated and wholly seductive painter, Juan Antonio (Javier Barden). Both women become infatuated with him, unaware that his crazy ex-wife (Penelope Cruz) is about to re-enter the picture.

On the surface Vicky Christina Barcelona has the usual Woody Allen motifs; affluent sophisticated characters, involved in the arts and have very different ideals about love. They appear to be middle class, unsure of what is "right" and what is "wrong", and seem like beautiful people that we might envy. At first Juan Antonio seems like a mysterious overwhelming figure of lust and carnal desire, the audience falls in love with his seemingly bohemian lifestyle as much as the characters do. Vicky's fiance Doug pales in comparison, looking like a shrewd ultra-conservative mouse.

Of course the curtain eventually falls, and what used to be "good" is now "too good to be true". The fantasy is just that, fantasy. Luckily Vicky and Christina return to reality before their lives become a nightmare. I was impressed with the smart ending, as I was somewhat worried Allen would give us the phony Hollywood treatment. The actors do a magnificent job in their roles, Penelope Cruz definitely deserved her "best supporting actress" Oscar. The character's personalities contrast wonderfully against the beautiful city.

In conclusion, Vicky Christina Barcelona was impressive and incredibly thought provoking. This is Allen at his most logical, showing that he doesn't always get completely lost in art. I enjoyed that it didn't devolve into the cliche romantic comedy, rather it was very unique. Praise it! 4/5

Manhattan Review- By Michael Carlisle

Title: Manhattan
Year: 1979
Director: Woody Allen
Country: US
Language: English

In 1977 Annie Hall swept the Oscars, beating George Lucas' epic yet tame Star Wars for a number of awards including Best Picture. It not only shaped fashion, but the movie industry as a whole. The romantic comedy genre took a unique turn and would never be the same again. His follow up to this masterpiece was another masterpiece; Manhattan. It would be nominated for two Oscars, unfortunately winning none, but it was going up against Apocalypse Now. Despite this, the picture is still relevant.

A divorced New Yorker (Woody Allen) currently dating a high-schooler (Mariel Hemingway) brings himself to look for love in the mistress (Diane Keaton) of his best friend instead. 

Manhattan serves as Woody Allen's valentine to the city he calls home. The opening montage - a sequence of shots of Manhattan set to the stirring strains of Gershwin's "Rhapsody in Blue" - paints a portrait that is both ordinary and sublime: life in the big city. There's a timeless quality to the black and white images, as well each location is an anthology of Manhattan shrines. The characters visit various important places, they also go to art movies while discussing the quality of Ingmar Bergman movies. Allen insists that he should not belong in Keaton's "hall of the over-rated". The picture could easily be an excuse for a tourism commercial, but because of Woody's writing it is so much more. 

Allen analyzes the true nature of love, going far beyond any traditional romantic comedy would. He feels feels uncomfortable with his young girlfriend's affection, insisting that a relationship between them - a young girl who really hasn't started living and a middle-aged man - has no future.Of course, like most people, he doesn't know what he truly wants until it is gone. Although he insists that the end of love is not the end of life. Near the end of the film, in a deep state of despair, he comes up with a list of things worth living and finds a pretty decent amount. 

In conclusion, Manhattan is a brilliant Allen hybrid; it is a fine mix of comedy and drama. Allen demonstrates how insecurity and immaturity can ruin a relationship, while also showing the alternative. This is Allen in peak form, deftly mastering and making us truly wondering why color is even needed in modern cinema. Praise it! 5/5

Sleeper Review- By Michael Carlisle

Title: Sleeper
Year: 1973
Director: Woody Allen
Country: US
Language: English

In the Science Fiction genre of film, there are magnificent dramas. Blade Runner, Solaris and Moon captured the imagination of millions. However, there are very few Science Fiction comedies. I can think of three off the bat; Mel Brook's Space Balls, Ron Underwood's horrendous The Adventures of Pluto Nash and Woody Allen's Sleeper. While Brooks picture is good satire, the funniest of the three has to be Sleeper. That is what I shall review now.

In the film a clarinet player  (Woody Allen) who also runs a health food store is frozen and brought back in the future by anti-government radicals in order to assist them in their attempts to overthrow an oppressive government.

Director Woody Allen not only wanted to make an imaginative sci-fi fantasy, but also a plausible one. During a lunchtime meeting with famed novel writer Issac Asimov (I, Robot) they confirmed the scientific feasibility of his screenplay ideas. He also consulted with leading science fiction writer Ben Bova to make sure that some of his futuristic predictions were feasible. Indeed Allen's future seems distant, but not too distant. The gadgets, with exception of the Orgasmitron Booths, designed to replace sex, are plausible. Unlike futuristic films like Back to the Future II, Sleeper doesn't depend on technology to sell the plot. Rather it's focused on its story and characters, which are a mix of Orwell and Woody. 

The futuristic society is comprised of people who have no historical references for the events of the past 200 years, as their leader has undoubtedly outlawed certain forms of knowledge that could lead to rebellion.They need Allen's unfrozen character to give them this knowledge back, though his synopsis of certain events are clever and not at all accurate. This of course is due to Allen's brilliant screenwriting that delivers gag after gag in a very natural way. Some of the humor can be dated, certainly most people living in the twenty-first century won't get all the jokes, but overall it's side-splitting. 

In conclusion, Sleeper is a remarkable Allen hit that certainly makes its mark. It likely won't make anybody's "top ten" list as Allen has made much greater and much more serious and philosophical works, but as a comedy it is fine on its own. The movie has a lunatic decadence to it, and a kind of nostalgic abandon, It's silly and edgy at the same time. Praise it! 4/5

Radio Days Review- By Michael Carlisle

Title: Radio Days
Year: 1987
Director: Woody Allen
Country: US
Language: English 

In 1973 Italian master film-maker Federico Fellini made his most personal film, Amarcord. It was a nostalgic period piece about growing up in fascist Italy. In 1987 Woody Allen did something similar; making a film about his own childhood called Radio Days. It was also a nostalgic tribute to the "Golden Age of Radio", this refers to a period of radio programming in the United States lasting from the proliferation of radio broadcasting in the early 1920s until television's replacement of radio.

Radio Days is Woody Allen's sentimental reminiscence about the golden age of radio. A series of vignettes involving radio personalities is intertwined with the life of a working class family in Rockaway Beach, NY circa 1942.

The film is a joy to watch, despite the fact that it takes place during the hardest decades of the Twentieth Century, Allen presents a time when America was dealing with the Great Depression, its after effects and the horrible event that was World War II. Just like our memories would be shaped by significant movie events, Allen's life is shaped by significant radio events. He transports the audience to his past consciously, mixing present reflections with the unadulterated spirit of his memories. Re-telling them not only reveals how one thinks life once was, but also oneself and the knowledge that these times are no longer physically accessible.

Is it an incredibly accurate picture? Likely not. The characters have to be exaggerated in order to fully be dramatic people onscreen. Memories also fade and are distorted by time. Almost everybody remembers the past fondly, regardless if it was actually "good". Also a child experiences things much different than an adult does. Regardless, Allen's flick is full of sad, sweet and funny vignettes. In one scene Allen's uncle goes to the neighbor's house to tell them to turn down the radio, only to come back hours later with communist ideals "it's not race vs race, it's the worker vs the owner!" 

In conclusion, with Radio Days Allen exemplifies the importance of Radio and gives a strong argument for why talk radio changed the world more than any other medium. The acting is tremendous and Allen's voice over contributes positively to the picture. At only 84 minutes, this is either a brisk walk down memory lane or a chance encounter with a world that once was. Praise it! 4/5

Hannah and Her Sisters Review- By Michael Carlisle

Title: Hannah and Her Sisters
Year: 1986
Director: Woody Allen
Country: US
Language: English

This week I've decided to watch every Woody Allen flick that I haven't seen before. A month ago I would have said that I had seen the best Allen had to offer, but now I realize that I've missed a lot. Among those were Zelig, Deconstructing Harry and, arguably Allen's best, Hannah and Her Sisters. It's quite a remarkable film that won Dianne Wiest her first Oscar, the second she won in another Allen picture called Bullets Over Broadway.

Between two Thanksgivings, Hannah's Husband (Michael Caine) falls in love with her sister Lee (Barbara Hershey), while her hypochondriac ex-husband (Woody Allen) rekindles his relationship with her sister Holly (Dianne Wiest). 

Hannah and Her Sisters has a sub-plot that is just as unique as the main story. A hypochondriac, played by the delirious Woody Allen, fears that he is going to die very shortly. Eventually he finds out that he's perfectly happy, but that life is meaningless. Meandering from religion to religion he eventually decides to kill himself, but then watches a Groucho Marx movie and realizes that maybe the only reason to live is to simply enjoy life. I apologize for spoiling the subplot of a 27 year old film, but I found his conclusion remarkable. It was a brilliantly written sub-story, loaded in existential philosophy, and it could have been its own feature length picture. Instead it works to strengthen the core plot and seems to weave effortlessly with it.

The screenplay for Hannah and Her Sisters is so remarkable that a group was rallying for it to be seriously considered for a Pulitzer prize. It was not awarded that, but it did win "Best Screenplay" at the Academy Awards that year. Though there are several main characters, each of them is handled with utmost care and contribute greatly to the story. They are all very human, each with strength and flaws, and neither becomes a caricature. Nobody is "evil" or "good", rather they are shades of grey, and Allen asks us to care for all of them. This is one of Allen's least Bergman-esque pictures, but has a perfect balance of light and dark, tension and humor. The ending seems incredibly optimistic at first, but it is shrouded in mystery.

In conclusion, Hannah and Her Sisters is among Allen's greatest achievements. It's not as influential as Annie Hall, but I'd argue that it's the smarter of the two. Is there any Director that is better than Woody Allen at making a realistic human drama? It's hard to tell. He can entertain us, make us cry and often make us do both. This is a film that makes us do exactly that. Praise it! 5/5

Deconstructing Harry Review- By Michael Carlisle

 Title: Deconstructing Harry
Year: 1997
Director: Woody Allen
Country: US
Language: English

Woody Allen's 1997 flick has been described by some critics as vulgar, smutty, profane, self-hating, self-justifying, self-involved, tasteless, bankrupt and desperate. Many wish Allen hadn't made the movie, as it's not normally the kind of project one could see the neurotic Jewish funny man making. Indeed it does have a lot of swearing and a lot of sex, but it rises far above shock value and becomes pure substance. Deconstructing Harry is Allen's most painful, and most revealing, picture to date.

Suffering from writer's block and eagerly awaiting his writing award, Harry Block,(Woody Allen) an unapologetic man who loves pills and whores, remembers events from his past and scenes from his best-selling books as characters, real and fictional, come back to haunt him.

Harry Block is no saint, he uses people and then borrows their life stories, as well as the stories about him using them for their life stories. This gets him in trouble, in one scene he is confronted by an angry woman with a gun who claims that he's a complete bastard. He is an atheistic self-hating Jew who has been through three wives, all of whom he cheated on, and six therapists. When going to his award ceremony nobody he loves will go with him, so he brings a prostitute named Cookie to accompany him. The storyline regarding a man revisiting his past while accepting an achievement is borrowed from Ingmar Bergman's Wild Strawberries, but the character seems to have come from a deep dark place in Allen's mind. I think that Harry Block is the best developed character Allen has ever written.

Even though Harry Block is a despicable man, Allen manages us to empathize with him. Is he really that awful, or does he just not know how to cope with life? All signs point to the latter. He is a man that doesn't know how to work relationships out, but he definitely knows how to write. Perhaps Deconstructing Harry is a semi-autobiographical work, it can't be mere coincidence that this work came out the year he married Soon Yi. This relationship was heavily scrutinized by the public and media, as Allen was 36 years older than her and it was looked upon as "step-father marries step-daughter" though she was never his legal step-daughter. Allen never wanted to become a role-model, infact he struggled with the public spotlight just as Harry Block does.

Despite being a pretty bleak film, it's manages to have a lot of funny moments. In one early scene Julia Louis-Dreyfus and Richard Benjamin are having adulterous sex, while also making sure nobody from outside catches their infidelity, then a blind grandmother unexpectedly walks in the room and manages to be completely oblivious to the shagging right in front of her. One of the greatest aspects of the picture is Allen's use of a recurring jump cut in all of the reality scenes to illustrate Harry's confusion and inability to cope with life. In a scene where he is speaking with a therapist, jump cuts are used to show his interrupted thought processes. Without using words or even actions, Allen can demonstrate how chaotic and messy Block's life is.

In conclusion, Deconstructing Harry is a remarkable confession. Allen exposes himself for all to see, yet also hides himself in a veil of entertainment and comedy. The content is far from lighthearted, and ultimately improves the film. Watch for several cameos from A-list actors, including Billy Crystal as Satan and Robin Williams as a man who is literally out of focus. I should mention the script, it's the greatest script Allen has ever written. Each line of dialogue feels natural and important. Praise it! 5/5

Zelig Review- By Michael Carlisle

 Title: Zelig
Year: 1983
Director: Woody Allen
Country: US
Language: English

On my quest to watch every Woody Allen film made so far I have stumbled upon many fantastic movies. His most recent work, Blue Jasmine, is a sensational masterpiece that plays out like a modern version of A Streetcar Named Desire. Of course every fan of his knows Annie Hall (1977) and Manhattan (1979), his most acclaimed pictures, though only a fraction of those have seen Zelig (1983). I saw it yesterday and can say without a doubt that it's one of the most underrated Allen flicks in his repertoire.

Zelig is a fictional documentary about the life of human chameleon Leonard Zelig, a man who becomes a celebrity in the 1920s due to his ability to look and act like whoever is around him. Clever editing places Zelig in real newsreel footage of Woodrow Wilson, Babe Ruth, and others.

A decade before Forrest Gump found its main character at the center of important historical American events, the neurotic Woody Allen created this mad-cap mocumentary about a man who is equally, if not more, strange than him. Making this picture well before GGI, the process of aging film and manipulating photos to make it seem as if Zelig were there was painstakingly difficult. The production decided to also use actual lenses, cameras and sound equipment from the 1920s, and used the exact same lighting that would have been done. In addition the exposed negatives would be stomped on in the shower  by Gordon Willis.

During the time it took to complete Zelig, Woody Allen had completed two other feature films; A Midsummer Night's Sex Comedy (1982) and Broadway Summer Rose (1984) A ridiculous amount of attention was given to Zelig and as a result Allen created another masterpiece. The 20's in this picture looks much more authentic than even the 20's in 2011's Oscar Winning The Artist. In addition to being technically well made, it's also hilarious. In one scene we observe Zelig at Hitler's rally, causing a commotion, in another we see the incredibly dramatized, and falsified, version of Zelig at Hitler's rally as depicted in a biographical picture. His lover then says "how we met was nothing like what we had seen in the movie!"

In conclusion, Leonard Zelig is a fascinatingly complex individual despite being 100% fiction. Woody Allen's project was certainly ambitious, it took much more time than he thought it would, but it was definitely worth it. There are no other films like this, most mockumentaries do not have Allen's insane attention to detail. Praise it! 5/5

Top Ten Films of 2013

The year 2013 is almost over and it's about the time critics and cinephiles start to shell out their "top ten" lists. This year is different from the previous ones, because I have technically become a professional published film critic and made it my duty to see over 50 films that have been released. Some, like Riddick and Smurfs 2, were absolutely dreadful but there were many that were absolutely outstanding. So here are the following top ten. Reasons will be given in point form, individual reviews will be written at a later date. 
(Frances Ha made #11)

10. Target Practice (No Photo)

- Incredible story regarding growing pains

- Great Acting

- An obscure Canadian flick

9. Before Midnight
 - Well written and captivating

- Last installment of Richard Linklater's brilliant "before" trilogy

8. Like Father, Like Son 

- Another remarkable Kore-eda Hirokazu picture

-Avoids easy sentimentalism with rich relationships

7. Blue Jasmine 

-Woody Allen masterpiece

- Modern version of "A Streetcar Named Desire" with a pinch of comedy

6. Jeune et Jolie

-Perhaps Francois Ozon's greatest picture to date


 
5. Le Passe

- Asghar Farhadi's magnificent follow up to the Oscar Winning film The Separation, this deals with even more complex themes.

4. Blue is the Warmest Color
 -Stunning depiction of a woman discovering her sexual identity

-Only this year could Blue be at #4, it's a strong contender for best of the decade
 

 
3. The Dance of Reality

-Alejandro Jodorowsky's latest work, the last one he made was The Rainbow Thief in 1990!


 

2. 12 Years A Slave

-Latest Michael Fassbinder/Steve McQueen collaboration

-The "Passion of the Christ" of slavery movies

 
 1. The Great Beauty 

- The closest any film-maker will get to Federico Fellini in the 21st Century

- Surreal, magical and tragic

Blue Jasmine Review- By Michael Carlisle

Title: Blue Jasmine

Year: 2013

Director: Woody Allen

Country: US

Language: English 

 

At the astonishing age of 77 legendary American Director Woody Allen still manages to write and direct at least one feature film every year. Unfortunately some, like last year’s To Rome With Love, are misses. However, occasionally he does manage to produce a hit with audiences and critics alike, a prime example being 2011’s Midnight in Paris. His latest film, Blue Jasmine, appears to be given strong praise by the public, in-fact many consider it to be Grandpa Allen’s newest masterpiece.

Starring Cate Blanchette (Curious Case of Benjamin Button) and Alec Baldwin (30 Rock), senior Allen’s latest picture is essentially a modern adaptation of Tennessee Williams’ A Streetcar Named Desire. The film starts with a life crisis, which causes a mean spirited socialite named Jasmine to head to San Francisco. There she reconnects with her sister Ginger (Sally Hawkins), bringing old troubles along with her.

Do you remember Bette Davis’ immortal line in the classic All About Eve? “Fasten your seatbelts, it’s going to be a bumpy night” If the great actress had lived to see the premiere of Blue jasmine, she would have likely said the same about this film. The main character Jasmine, played by the extremely talented Cate Blanchette, is rotten to the core. She’s more neurotic than any character Allen has played and is full of sociopathic tendencies. Her psychological meltdown is epic and incredibly disturbing; though we may have met people who are similar, none match the woman’s intensity

Blue Jasmine is a metaphor for the current American consumer culture. Woody intends to expose our own lack of self-responsibility and integrity within the character of Jasmine. The director is holding a mirror up to our faces and shouting “this is what is wrong with us!”  Like Jasmine we try our best effort to look away from our misdeeds, like the financial meltdown of 2008, but the past, if not dealt with properly, will always come crawling back.

In conclusion, Blue Jasmine has an all-around impressive cast. Even Andrew Dice Clay, who is usually known as being an offensive assface, has the power to make you weep like a baby with his serious acting abilities. The dialogue is fresh and sometimes witty, perfectly blending comedy with tragedy. This film is definitely an Oscar contender, if it isn’t nominated for Best Picture I will be absolutely shocked. Praise it! 4/5

Top Ten Films of 2011

Though 2011 was two years ago, it was a memorable time in the History of Cinema, A modern silent B/W French film known as The Artist won Best Picture at the Academy Awards. Film historians and snooty French types went wild with joy. I have seen about 50 films from that year and reviewed over 20. 2011 was truly remarkable, full of films that paid tribute to the great Art. My #1 pick for greatest film of 2011 already has an incredible Criterion Collection release, so go pick it up while you still can. Reasons will be made in point form.

 10. Redemption of General Butt Naked

 -Deep exploration into themes regarding forgiveness, mercy, redemption, death and justice.

-Will have you questioning your morals long after the film is over

 9. Pina

-Directed by Wim Wenders

- Fantastic tribute to Pina Bausch

- Fascinating dive into the art of dance

- Unusually made documentary

 8. Shame

- Directed by black Director Steve McQueen

- Disturbing yet powerful

- Themes regarding sexual guilt, shame and addiction

-Marvelous acting by Fassbinder

7. An African Election

- Interesting documentary about the political process of an African Elecion.

-Unlike a North American election, this is anything but boring.

6. Tree of Life

- Polarizing. After seeing it three times I still can't figure out whether I love it or hate it.

-Truly a unique vision that needs to be watched and re-watched.

5. A Separation

-Another political film, but this is about a marriage in Iran

-When this won the "Best Foreign Language" Oscar, the state declared a "victory over Israel". However the Director completely disagrees.

  4. This Is Not A Film

 -A political documentary about the deprivations in Iranian cinema

-Incredibly thought provoking

 3. Martha Marcy May Marlene

- Accurate depictions of cult and Post Traumatic Stress Disorder

-Brilliant acting by Elizabeth Olsen, sister of the famous Olsen Twins.

2. Midnight In Paris

-Directed by Woody Allen. Even as a senoir he knows how to make a great film.

-Time travel!

- A great use of Owen Wilson's skills

1. Le Havre

-A trip back to the magical French Cinema of the 30's and 40's 

- Hilarious dead pan humour

-Heartwarming tale that incites the audience to become better people, without being preachy





 

Crimes and Misdemeanors Review- By Michael Carlisle

Title: Crimes and Misdemeanors 
Year: 1989
Director: Woody Allen
Country: US
Language: English

When one thinks of "great comedic film personalities" usually some names that come to mind are Groucho Marx, Charlie Chaplin, Buster Keaton and Woody Allen. Being the only one alive, Allen continues to entertain us, even throughout his seventies. 2011's Midnight in Paris received great acclaim, as well as obtaining a few Oscar nominations. His 80's masterpiece Crimes and Misdemeanors received a tremendous amount of praise as well. .

The film is about Ophthalmologist Judah Rosenthal, who has had an affair with a woman named Dolores for several years, and now she threatens to ruin his life if he doesn't marry her. When his brother Jack suggests to have Dolores murdered, Judah is faced with a big moral dilemma. Meanwhile, documentary filmmaker Clifford Stern is trying to make a film of a philosophy professor, but instead he's commissioned to make a portrait of successful TV producer and brother-in-law Lester.

Crimes and Misdemeanors is very Bergman-esque, an incredibly meditative film that will have you thinking about love, death, morality, god and so much more. Depending on how you interpret the film, this is one of Allen's bleaker comedies. Firing on all cylinders, Allen addresses great pain and anguish while simultaneously discussing the nature of good and evil. Like The Purple Rose of Cairo, we also see the many different pleasant and unpleasant truths about film and reality. Remarkably Allen's film remains incredibly funny despite having the being able to break our fragile hearts.

The film's construction allows viewers to frame their own conclusion given its wide distance of tone. Does the film deny the existence of God or confirm it? Is the end of the film tragic or filled with opportunity? It's a bit difficult to say. During a scene in which Judah remembers a childhood dinner discussion his aunt says "Hitler got away with it!" in response to Judah's rabbi father claiming that God punishes all evil. This line is incredibly important as it blurs the line of karma. Perhaps not all evil is punished. However I would argue that Hitler didn't get away with it and while evil may have a short term advantage, good will always conquer in the end. Though "good" must not be "meek".

In conclusion, Crimes and Misdemeanors has a wonderful cast and hilarious dialogue. It is brilliantly directed and extremely thought provoking. The ending will have you in tears, certainly you will be thinking about it long after the film ends. If I had more time I would dissect every scene, however a review will do. More films like this need to be made. Praise it! 5/5

The Purple Rose of Cairo Review- By Michael Carlisle

Title: The Purple Rose of Cairo
Year: 1985
Director: Woody Allen
Country: US
Language: English 

At 77 Woody Allen is among the greatest living American Directors. He consistently makes hit after hit, year after year. Known mostly for his comedic landmark Annie Hall, there are plenty of other great films in his arsenal like Midnight in Paris (2011), Manhattan (1979) and Mighty Aphrodite (1995). His 80's masterpiece The Purple Rose of Cairo should not be excluded from discussion either, for it may be his greatest work.

The plot revolves around Cecilia (Mia Farrow),  a waitress in New Jersey during the Depression who is searching for an escape from her dreary life. Tom Baxter is a dashing young archaeologist in the film "The Purple Rose of Cairo." After losing her job Cecilia goes to see the film in hopes of raising her spirits. Much to her surprise Tom Baxter walks off the screen and into her life. There's only one problem..Tom isn't real.

 The premise of this film is very strange, yet it works. Allen raises many questions regarding reality and fantasy, doing so in a highly surreal fashion. Essentially this film is like if Frank Capra and Luis Bunuel made a film together. However Allen's film is more crowd pleasing than a Bunuel film, and more specific in subject matter than a Capra film. Purple Rose of Cairo speaks to the soul of anybody who is in love with Cinema, because it is essentially about the restorative power of movies.

Thoug the notion of fictional characters crossing over into “reality” was not a new concept, Monty Python and the Holy Grail (1975) featured many jokes in which the characters become aware that they are in a movie, Allen directed the film perfectly so that this "crossing-over" didn't become a boring gimmick. It is a fantasy film with brilliant performances by Jeff Daniels and Mia Farrow. When this was first released, the ending of the film was controversial. Many people, including Allen's studio, wanted the film to have a "happy ending". Allen did not give into the pressures and stuck with the ending that he felt suitable. Personally I feel Allen's ending is great, sure Cecilia doesn't get what she wants but at least she is LIVING life instead of acting like she's in a dress rehearsal. The end also strongly emphasizes the healing power of films like Top Hat. 

In conclusion, The Purple Rose of Cairo is arguably Woody Allen's best work. It certainly speaks a lot of truth about life, and examines the great importance of art as escapism. Inventive, warm, touching, existential and hilarious, this film does not disappoint on any level. Watch it, then watch it again. Praise it! 5/5

Annie Hall Review- By Michael Carlisle

Title: Annie Hall
Director: Woody Allen
Year: 1977
Country: U.S
Language: English

In 1977 Annie Hall was up for Best Picture at the 1977 Academy Awards, however nobody really expected it to win. The problem? Star Wars. The big budget Hollywood Blockbuster that became the highest grossing film of all time (not adjusting inflation). The Sci Fi epic changed the way major Hollywood studios wanted films to be made, not as intelligent art but as mindless blockbusters like Avatar. Why? Greed. It effectively ended the golden age of American movies. Star Wars promised to rule the cinematic world by winning every award possible, but one little film stood in its way. This film was Annie Hall

Unfortunately, Annie Hall is not as well known as Star Wars, but why? The characters are very human, they express real emotions and are almost far to intelligent for today's audiences. Characters driven by desires and emotions, they use references that would fly by most people. Though Annie Hall is built upon a brilliant screenplay that provides great dialogue and brilliant monologues. It is the opposite of its 1977 rival, where Star Wars was built on action, this film is built on talking. Everywhere the two characters known as Alvy Singer (Woody Allen) and Annie Hall (Diane Keaton) go there are constantly talking. About life, love and death.

This film was saved by editing. Originally it was 140 minute murder mystery. The editor of this film thought it was junk, cut 45 minutes of the original film and thus the Romantic Comedy genre was never the same again. Annie Hall stars Woody Allen as the neurotic stand up comedian Alvy Singer. Raised under a rollercoaster, he both hates and loves New York City, often expresses it with short witty lines of contempt, and has a various amount of relationship worries. Though it's ok, he sees a therapist for his anxieties. His love interest, Annie Hall (Diane Keaton) is a cute, intelligent, scatterbrained woman. She is at first eager in love, but then becomes disinterested and emotionally exhausted from her relationship with Alvy.

There are funny conversations, sad conversations, angry conversations and awkward conversations and all serve a great purpose, to analyze the average relationship. When Alvy and Annie meet each other for the first time, at a tennis match with friends, their conversation starts awkwardly like all conversations do but eventually builds up into something more. The dialouge is important and meaningful to understand the average relationship and the misunderstandings around language. Alvy says one thing and Annie gets upset, worrying about something that wasn't even mentioned in the conversation. It explains how "reading between the lines" in a relationship doesn't work all the time. It explores how important conversation is to the relationship and how interpretation can make or break it. It explores how crazy a relationship can be. You would think that since Alvy lived under a rollercoaster during his childhood he would be used to the ups and downs of life.

It also examines the breakup and  the death of a relationship. As Alvy says "Our relationship is like a shark, and I think what we have on out hands here is a dead shark". Unfortunately love tends to fade over time and unless you've found the right person your love will end. Alvy finds little comfort in the dating scene, making jokes that just don't connect with people. "I don't understand, is that a joke?" It is depressing yet truthful. Nobody wants to be dumped, but it happens to the best of people. He asks a question to the audience, breaking the fourth wall which he does throughout the film, why do we keep searching for relationships when we know that it'll be a rollercoaster of emotions? They're totally crazy, absurd and irrational but maybe it's better than being alone. The end scene is rather optimistic, a green signal at a stoplight as if to say "go for it", "don't be afraid to get the relationship you want."

In conclusion, I was always worried about getting into a relationship until I saw Annie Hall, like Alvy I always thought they were emotionally destructive and irrational. Even though I'm currently where Alvy is at the end of the film, I can't help but see that green light. Go for it! Life is odd but too short to worry about the many possible dramatic situations that can result from a relationship. The film is funny and obviously better than every romantic comedy after it. While most rom coms are about how to people fall in love, have an arguement, then fall in love again in a hopelessly cheesy way this is quite different. Annie Hall is a surprisingly accurate study on the North American relationship that just might inspire you to find the love of your life, or improve your current relationship. Praise it! 5/5