All the films from all the editions, including those subsequently removed, presently totalling 1187. An easy way of seeing how…
Crimes and Misdemeanors
A film about humanity.
An opthamologist's mistress threatens to reveal their affair to his wife, while a married documentary filmmaker is infatuated by another woman.
This review may contain spoilers. I can handle the truth.
Such a perfect encapsulation of Allen's worldview that he might as well have just retired afterward—this was everything he had to say in one brilliantly conceived package. That its themes are stated so bluntly has never bothered me, because the characters are actively wrestling with those questions; the dialogue (Judah's especially) may be openly existential, but none of it rings false in this particular context. What's mysterious and miraculous to me, still, is the way that the two stories inform each other without Allen forcing the issue via cutesy deliberate parallels. Until the magnificent final scene that brings Judah and Cliff together, it really does play like two completely separate films that have been spliced together, each of which…
I'm pretty sure that I'll never get around to watching every Woody Allen film, and that's not just because of his varying degrees of quality (going from Midnight in Paris to To Rome with Love is one of the multiple examples of dips in caliber), but because no matter what, he's so goddamn prolific. By the time I catch up to another one of his most renowned works, it feels like he's released two more.
Funny enough, I feel that it is Allen's scattershot and conveyor-belt-esque filmography that adds to his more influential and masterful efforts, and with Crimes and Misdemeanors, it proves that when a Woody Allen film works, it really works.
With a universally strong and varied…
“God is a luxury I can’t afford”
Crimes and Misdemeanors is a rare piece of cinema; blending straight up humor whilst giving the audience something to chew on. Actually, [it’s] more than just something… it’s a lot of things. It’s rare to see a film appease on both intellectual and entertainment levels. Woody Allen addresses the complexity of human nature/emotion(s) with both dramatic and comedic appeal; satisfying everyone.
Allen’s screenplay revolves around two protagonists with no relation with the other. But because of their similar situations, are seamlessly juxtaposed in this story. Judah (Landau) a praised philanthropic ophthalmologist in the middle of an ugly love affair that may bring down his life’s work. Cliff (Allen) is a down on his…
Bewildering, can't remember seeing a Woody Allen film where a character wrestles with guilt before.
Crimes and Misdemeanors is Woody Allen in top form. It has a lot to say about human nature and is one of his most poignant films. Martin Landau also gives a great performance.
Performances : 7.7/10
Story : 7.1/10
Production : 6.6/10
Overall : 7.13/10
I'd just like to say that as a technician, Woody Allen is not a class A director. As a story teller though, I don't think there has been or ever will be a better director.
Just my two cents.
Crimes and Misdemeanors proves that perhaps the only thing more potent than Catholic guilt is Jewish guilt. The film is a brilliant morality play where the lines between right and wrong are blurred. It's tragic and heartbreaking in equal measure, yet somehow still uproariously funny. It's the kind of film that only Woody Allen could make as no other filmmaker, living or dead, could ever quite find the comedy in tragedy as skilfully as Allen. It's a highly pensive film that cuts you right down to your funny bone until you don't know whether or not you should laugh or cry. Sometimes you find yourself doing a bit of both and you ultimately end up discovering a bit more about…
Formally, this is Woody Allen's finest accomplishment. A perfectly shot, edited, and written piece on morality: seriously tackles religion and guilt without feeling heavy-handed. Its philosophical musings never feel under-explored. Gleams with technical precision unlike Allen's other films. Allen's best performance as well? A+
How can one not immediately fall in love Crime and Misdemeanours. Woody Allen's smart direction perfectly compliments the setting and the script is just genius.
Another excellent film by Woody Allen, he really is a talented motherfucker. This time we've got a vaguely noir-ish plot with an awesome performance from Martin Landau, and an almost unrelated story with Woody himself providing the romantic comedy angle. It's a thought-provoking film, full of existential and moral discussions, and it ends on an intriguing note, but it's also just really entertaining throughout.
Like two movies in one. Fairly dark themes.
This is the first time i've seen it, although i'm a huge Woody Allen fan.
So, a lot of elements of this piece were unceasingly used in others posterior times: that duality that Woody somehow basically always addresses in his films about, in one hand, the dilemmas of a mind built by a moral and ethical structure and, on the other hand, a more nihilist position, that denies an order, embraces chaos, and, by that, also lives a difficult dilemma about how to behave in life, towards other people - and that last element is normally vivid by a neurotic, acid, sarcastic, paranoic character, that people normally associates to Woody Allen itself.
But i must say, that theme was never…
This is like a unique type of pizza. The base is a Hitchcockian plot around an apparently 'respectable' guy who has his dangerously crazy lover murdered and then suffers the inevitable guilt whilst panicking about the police catching him. The topping is pure Woody Allen, a la Husbands and Wives, Hannah, Annie Hall, Manhattan, etc - ending relationships, starting new ones with enough comedy and drama to keep it interesting. But the shavings of Parmesan cheese are deep philosophical musings on the human condition and how our moral code is shaped by God, or not. The taste is complex and merits several servings over a period of time. Enough of the metaphors, it's interesting , radical and often very funny.
Eh. It was alright. I laughed a little.
Written and directed by Woody Allen, it's a sad, censuring look at an eminent ophthalmologist (Martin Landau) and other crooks in high places who (in Allen's view) have convinced themselves that they can do anything, because they don't think God is watching. Allen is making the film equivalent of a play of ideas, and the ideas have no excitement. He's telling us not just what we already know but what we've already rejected. Woody Allen himself plays a little, grubbing-for-a-living documentary filmmaker who falls in love but can't compete for the woman (Mia Farrow) against a darling of the media, a tall, egomaniacal TV producer played with a wonderfully smug, screwy abandon by Alan Alda. Except for Alda, and Landau…
there's a thing where you adds 'in my ass' to the end of a movie title, so here are some…