Review: Match Point (dir. Woody Allen, 2005)

Ever since Match Point premiered at the Cannes film festival eight months ago, Woody Allen has been receiving some of his best reviews in years. His new film has been lauded as a change of pace for a director who has long been stuck in his ways, and in some ways it is. It is set in England, not in New York (though earlier films like Love and Death and Everyone Says I Love You also took place, at least in part, outside the United States). It is a mostly serious dramatic feature, not a comedy (though earlier films like Interiors and Another Woman were even more explicit in their emulation of Ingmar Bergman’s sobering style). And it dwells just a little more than usual on the actual eroticism of sex, whereas earlier films tended to focus on the social ramifications of adultery, rather than the sexual activity itself (though a few, like Husbands and Wives, were a tad more graphic).

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Where sibs are a sin

For the haziest of reasons, there is a near taboo on the portrayal of adult brothers and sisters in film

In When Harry Met Sally, Billy Crystal and Meg Ryan famously argued over whether men and women could be friends without one of them wanting to have sex with the other. When I first saw the film 11 years ago, I found it funny, entertaining and a good conversation piece, but I couldn’t help thinking that Crystal and Ryan — neither of whom seemed to have any family beyond their fellow single New Yorkers — had overlooked something. I could certainly think of a few women in my own life for whom this was a non-issue, and one of them was sitting right next to me in the theatre. I refer, of course, to my sister.

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