All the films from all the editions, including those subsequently removed, presently totalling 1177. 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.
Crimes and Misdemeanors is a film with two different story lines with a similarity, both of the central characters are struggling with a difficult decision in life.
This stories approach complicated themes as the existence of God, guilt and the capability of accepting our mistakes. It's deep but it also has very funny parts and everything is very well structured.
The performances are great and once again is proved that Woody Allen's writting abilities are amazing.
Another film that a lot of people consider Allen's best that I personally can't agree with. I have a lot of the same thoughts that I did about Match Point only this movie did it first and was slightly better at it. [B]
Woody Allen brings an extraordinary story to our screen, with morality and sanity being questioned throughout, as our two main characters face completely different but equally horrifying situations that drive them up the wall. The title says it all, and the screenplay paves the way towards that. A really brilliant film.
Woody Allen successfully appropriated the existential heaviness of Ingmar Bergman he had been trying to achieve over the length of his entire career. Of course that mystical, skeptical of the Swedish auteur dread gets filtered through Allen's paranoid-New York-Jewish lens.
The eye of God is upon you.
What Allen did so well in the early portion of his film career was to be absurd in his comedy, yet through those absurdities he made his straight characters relatable because we are forced to acknowledge how absurd life actually is. Then Woody moved on from his 'earlier-funny pictures' to more grounded realities. Gone is the mile-a-minute gag formula he had been so focused on before, now with things like Annie Hall and…
SAW: in Norris Theatre (for 464)
"God bless you for saying that sweetheart really, you know, but you'll find as you go through life that great depth and smoldering sensuality does not always win, I'm sorry to say."
Woody Allen can write, I'll give him that.
Η απόδειξη ότι ο θείος Woody δούλευε 15 χρόνια το σενάριο του Match Point.
Had some great scenes with realistic messages like the one told to Woody by Martin Landau in the climactic scene. It was also really dope how this climax brought the two main characters with completely separate storylines together for the first time. Personally, I don't find Woody's one-liners funny so I didn't love this film.
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