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Match Point is Woody Allen’s satire of the British High Society and the ambition of a young tennis instructor to enter into it. Yet when he must decide between two women - one assuring him his place in high society, and the other that would bring him far from it - palms start to sweat and a dark psychological match in his head begins.
It's honestly hard to believe that this film was directed by Woody Allen as he clearly leaves his comfort zone and creates a very engaging drama with a touch of Fyodor Dostoyevsky when it comes to the murder case. What makes it such an unrecognizable film is its insane narrative as Match Point starts as a romantic drama and slowly turns into a mental crime thriller.
Match Point follows a former professional tennis player who sees his life significantly changed for better when he marries the sister of one of his friends and gains access to the money and success of his dreams. However, he sees his life turned upside down once more when he falls in love for the…
Match Point is everything I was hoping, and more. Woody serves up arguably his most delightfully rich genre reinvention, kind of like a reimagining of A Place in the Sun with a dash of Crime & Punishment.
Match Point is a curious cross-reference of influences. It has the bedrock of a Woody Allen film. The emotional energy and relationship betrayal of a Hitchcockian dark thriller. And a sliver of Barry Lyndon Irish rogue penetration of high society to it. Most of all, it concerns the element of luck, like a game of high society stakes poker. After all, when one is handed everything, the temptation is to risk it. Only a natural talent for calculated shot selection, along with a fateful…
Despite having a predictable premise of adulterous affairs, Woody Allen’s London-set dark character-driven drama film satisfies with its solid performances, sharp screenplay, and that blistering final twist that results into a cerebral, tour-de-force viewing. In the first act, Allen goes old-fashioned in presenting an almost-generic drama of infidelity and class relations. Then the simmering middle part which is kind of repetitive—weakens the trajectory of the narrative. But as the third act goes, Allen puts a surprising Hitchcockian mask, strengthening the tension and thriller elements—which is the best part of the film.
The performances are solid. Although Jonathan Rhys Meyers is a bit shaky, and unnatural at times (I have other good actors in mind for his character), he still delivered…
Performances : 7.9/10
Story : 7.5/10
Production : 7/10
Overall : 7.47/10
This might very well be my first true run in with non-comedic Woody Allen. The laughs are in here. They might be a little deeper below the surface than we're used to, but they're there if you look hard enough. It certainly was a slow burn for the first two thirds but the final act is amazing. It really is something special.
Allen has some very interesting choices for male leads here in my opinion. Jonathan Rhys Meyers, who I've honestly never heard of, is adequate. I just can't help thinking of what another actor could have done in this role. Matthew Goode on the other was beyond…
alejandra acaba de terminar de leer crimen y castigo y me pareció pertinente sugerir que viéramos match point. más la veo, más me gusta, pero verla ahora, con la inevitable imagen de un woody allen abusando de la hija de su esposa, me hace ver con ojos menos fascinados esta película donde un hombre comete terribles bajezas morales y sale caminando libre de ellas. peco de auteurista, perdón.
I have watched Match Point a ridiculous amount of times since its release in 2005. I enjoyed it at the cinema, but I have fallen in love with it on home viewing. It is a great mix of Woody Allen verbose, rich dialogue, this time with a heavy amoral focus; while being simultaneously a sultry neo-noir. It remains a surprisingly sexy effort from Allen, he capitalises on the casting, where Jonathan Rhys Meyers and Scarlett Johansson light up the screen with genuine chemistry, and Matthew Goode, Emily Mortimer, Brian Cox and Penelope Wilton provide tremendous support.
I remember at the time UK critics gave it a bit of a tough time because they felt that the dialogue was superficial and…
First time I saw this I was trying to get back together with an ex. This was our first date and it was a bad choice. Not because it's bad though.
Like Goodfellas and The Matrix, I can't stop watching this movie when it comes on. It may be ridiculous and absurd and contrived beyond belief, but it's one hell of a ride. And hilarious too, intentionally and unintentionally—perhaps all the humor is intentional; it's hard to tell at times because Woody Allen is so clever I'm sure he's completely aware of what he's doing at every turn.
Jonathan Ryhs Myers kills it this thing. I used to think he was too serious in it but for an unassuming-looking, poker-faced…
A really good woody Allen film that feels nothing like a woody Allen film.
This is some of the best writing of Woody Allen's later career.
A good ending, I say.
Allen employs Hitchcock in this wonderfully dark albeit slow pot-boiler. The filmmaker seems to relish taking the audience deep into a jungle of deceit and then allows all the underlying greed and lust to break through the cracks with suspense, horror and humor.
In suitable Hitchcock fashion I found myself fearing the anti-hero might be caught and then left questioning my own engagement and moral compass.
I wish the director would make more like these.
Woody Allen's favoriete Woody Allen film.
Ik snap wel waarom.
I should start listening to my conscience and stop watching Woody Allen films
O que eu mais gostei nesse filme é que ele explora o pior das pessoas. Não é sobre bem contra o mal, mas sim uma disputa entre ambições egoístas diferentes.
Nosso protagonista é apresentado ao dilema: luxúria ou ganância. Nenhuma escolha está "certa", e o espectador apenas o acompanha enquanto acompanhamos já antecipando os resultados catastróficos das ações do nosso Raskolnikov, Chris. É um filme cínico.
Falando em Raskolnikov, logo nas primeiras cenas, vemos Chris lendo Crime & Castigo, que pauta claramente as ações de Chris que vê-se como Raskol, predestinado à grandeza independente das ações que tenha que tomar para alcançá-la. Isso fica extremamente evidente em algumas cenas que, para quem leu Crime & Castigo, praticamente cita os pensamentos conflituosos do…
Every film that has ever been nominated for an Academy Award in any category. Enjoy!
Movies that have such a powerful/memorable/weird/insane/awesome/surprising last scene (or shot) that made you say "THAT ENDING!!!!!" or variations