76/100

Here's what's weird: I can now see in this old favorite the seeds of everything I dislike about his recent films. Much of the dialogue is clunkily expository and/or tin-eared; supporting characters (e.g. Daniel Stern's gauche rock star) often function as straw-man caricatures; source music is used as a cudgel. Yet it's mostly glorious, and I spent the whole damn movie trying in vain to pinpoint the difference. In the end, I think Tarantino may be right, at least in this case and some others: Woody's just old now, and his work has become correspondingly creaky, with its highs diminished and its flaws hugely magnified. In any case, he was unmistakably at the top of his game here—though he's…

What can I say about Hannah and Her Sisters? I think this is my second favorite Woody Allen film after Annie Hall!

The movie is a feast of witty, hilarious dialogue (as you would expect from Woody Allen) and vivid characters that hooked me right off the bat. Allen makes an engaging story out of ordinary people and strikes a nice balance between drama and comedy. And once again, he effortless pulls me into his romanticized version of New York City to tell a story about four sisters and four men whose lives are intertwined through love and secrets.

Allen deals with a lot of characters and subplots in the movie, but he weaves each narrative thread together in a…

Woody Allen really is a fantastic writer and director, we all know that. He is always able to create amazing characters, fantastic dialogues, simple stories with situations that could happen and real life and none of his stories ever felt forced. All feel real and actually very believable. Hannah and Her Sisters is no exception.

An amazing comedy/drama script, that tell us the stories of multiple characters all connected because of three sisters Hannah, Lee and Holly. Family interations, romances, dramatic discoveries or even hilarious moments it's what you are going to find throughout the story.

All of the performances are absolutely fantastic, everyone is able to play their parts in the perfect way possible. Dianne Wiest, Woody Allen himself…

Hannah (Mia Farrow) is seemingly the perfect daughter in contrast with her sisters Holly (Dianne Wiest) and Lee (Barbara Hershey), but she is also rather wholesome in comparison to her parents (Lloyd Nolan and Farrow's real-life mom Maureen O'Sullivan). Well, these all happen to be just that, appearances, as every one and every thing in this work of art by Woody Allen walks the fine line between the artifice of storytelling and the actual matter that originates it and informs it all.

Hannah is in fact going through some serious situation without ever realizing it. Her husband, Elliot (Michael Caine), has become enamoured with Lee, the wife of an Scandinavian type (Max von Sydow), a misanthropic painter who is much…

On some days, this is my favorite Woody film, edging out Annie Hall just slightly and the tipping point has to be Michael Caine. He transforms himself into the antithesis of Jack Carter. The Woody dialogue rolls off his tongue so naturally, it's a shame they never worked together again. Every little mannerism and insecurity goes noticed, but it's never pompous or showy. He's playing a man in midlife crisis with secrets and desires that he cannot express clearly and he is a fully fleshed character.

The whole cast is on fire. All their interactions and inner monologues are lived in and their midlife woes and sorrows feel instinctive and driven and they all have arcs that leave them somewhere…

I originally downloaded this as part of "Woody Allen" week of the 2017 Film School Dropouts challenge, but didn't get around to watching it until this month. This was in fact the very first Woody Allen movie I ever saw, which came out my senior year in high school, and which I developed a bit of an obsession for and ended up seeing another half a dozen times over the next few years. And that's because, at a time when I was making the transition from a sheltered mall-going suburban Midwestern high-schooler to the relatively more cosmopolitan art-school college student in the same Midwestern environment, I was going through a big new understanding of how exactly the world works and…

Hannah and Her Sisters was Woody Allen’s most warmly received film since Annie Hall, winning three Academy Awards (for its screenplay and the performances of Michael Caine and Dianne Wiest) and becoming his biggest hit to date. After a string of breezy and appealing comedies, the director returns to a modern, realistic New York for a rich ensemble piece, weaving comedy and drama almost as deftly as his forthcoming Crimes and Misdemeanors. Today, the film looks like a summation of his strengths as a writer, inextricable as they are from his weaknesses; at this point, the clunky dialogue and limited dramatic range just come with the model. And Hannah and Her Sisters is a mostly marvelous model, flaws and all.…

Say what you will about his personal life, but there are very few filmmakers alive that are more capable then Woody Allen. The King of Rom-Com has definitely made a few duds here and there, but when everything clicks and he puts his oh-so-precious mind to it, he has the ability to make masterpieces of cinema that could only be made by him.

Hannah and Her Sisters is not only a masterpiece, it’s also Allen’s best work to date, and one of the best approximations of love and everyday life in any medium.

The direction is perfect. The screenplay and characters are perfect. The acting is perfect.

This whole movie is fucking perfect.

This is one of those movies that…