By a ‘Coup de Chance’ (2023), Woody’s still got it
Woody Wednesday (Movie review): While this isn’t Allen’s best film mixing infidelity and murder, the themes are remixed in an engaging way.
Woody Allen
By a ‘Coup de Chance’ (2023), Woody’s still got it
Allen’s ‘Apropos of Nothing’ (2020) a breezy yet insightful autobiography
Woody Wednesday (Book review): Fans will enjoy learning Allen’s views of his own films, and – if you’re up for it – get a thorough account of the Farrow accusation saga.
A neurotic half-century: Every Woody Allen film, ranked
Movie list: I’ve obsessively made my list and checked it twice, and now I need counseling. Here are my rankings of Woody Allen’s films.
‘Rifkin’s Festival’ (2020) sees romance as ageless
Woody Wednesday (Movie review): Allen’s writing and directing skills are still sharp in his seventh decade of filmmaking.
‘Everyone Says I Love You’ (1996) celebrates heart’s desires
Woody Wednesday (Movie review): While still recognizably an Allen film, this one focuses on the positive side of love enough to make you want to sing and dance.
‘Don’t Drink the Water’ adapted poorly (1969) and, well, better (1994)
Woody Wednesday (Movie reviews): Neither version is outstanding, but if you watch one, definitely track down the 1994 movie that comes directly from Allen.
Allen skewers star-making culture in ‘Celebrity’ (1998)
Woody Wednesday (Movie review): It’s sometimes more absurd and sometimes more accessible than “Stardust Memories.” In the end, it’s a great companion piece.
Allen puts funny spin on ‘Everything You Always Wanted to Know About Sex’ (1972)
Woody Wednesday (Movie review): Not as risqué as the title, this film lands in the middle of the pack among Allen’s pre-“Annie Hall” farces.
‘Deconstructing Harry’ (1997) puts typical Allen situations through blender
Woody Wednesday (Movie review): This film overcomes its hard-to-grasp structure to become great for a basic reason: It’s darn funny.
Penn starrer ‘Sweet and Lowdown’ (1999) turns out sour
Woody Wednesday (Movie review): Penn and Morton are decent, but where are the laughs in this faux-historical piece that’s structured like a comedy?