Magic in the Moonlight (12A)
Directed by Woody Allen. Starring Colin Firth, Emma Stone, Eileen Atkins, Simon McBurney, Hamish Linklater, Marcia Gay Harden and Jacki Weaver. 97 mins.
Life. What's the point of it? The years accrue, one after another, some better, some worse, some funnier, some sadder than the norm, but all pretty much the same. And each year brings another Woody Allen film, some better, some worse, some funnier, some sadder than the norm, but all pretty much the same. And each one asking the same question, what is the point of life in a godless, rational universe? And each coming up with the same answer – the odd laugh and the occasional bit of love will get you through.
Even though we all know the question, this year's Woody film asks it more bluntly than usual. Colin Firth plays a rationalistic, intellectual misanthrope stage illusionist. We first see him performing in Berlin in 1928 making a very emaciated elephant disappear before being whisked away to the south of France where he has been asked to expose a spiritualist (Stone) who has a family of rich American socialites under her spell. Firth's character might have been conceived as the antithesis of the Hugh Grant romcom lead – he is abrupt, charmless and fatalistic. When he can't work out how she does it, he allows his scepticism to drop and begins to enjoy life more.
In his New York films the big question did seem to have some urgency, and the supplying of the answer had some relevance. For the last decade though he's been on his European vacation and the big questions are now subservient to the scenery. Magic In the Moonlight feels dashed off – like the script is a first draft that could have done with a major polish and the performances could've used another take or two to really nail it.
Allen's films have changed in one important aspect over the years – they stopped being funny. The last time a Woody film made people laugh out loud was Deconstructing Harry in 1997. Now they are serious, or they are not serious. Magic is definitely a not serious one. It's junky, pointless but might raise a smile. Perhaps the question now should be what is the point of later Woody Allen films? They exist simply to rekindle the happy memories you have of earlier ones; though when the earlier one it reminds you of is A Midsummer's Night Sex Comedy, you may feel a little short-changed.
Directed by Woody Allen. Starring Colin Firth, Emma Stone, Eileen Atkins, Simon McBurney, Hamish Linklater, Marcia Gay Harden and Jacki Weaver. 97 mins.
Life. What's the point of it? The years accrue, one after another, some better, some worse, some funnier, some sadder than the norm, but all pretty much the same. And each year brings another Woody Allen film, some better, some worse, some funnier, some sadder than the norm, but all pretty much the same. And each one asking the same question, what is the point of life in a godless, rational universe? And each coming up with the same answer – the odd laugh and the occasional bit of love will get you through.
Even though we all know the question, this year's Woody film asks it more bluntly than usual. Colin Firth plays a rationalistic, intellectual misanthrope stage illusionist. We first see him performing in Berlin in 1928 making a very emaciated elephant disappear before being whisked away to the south of France where he has been asked to expose a spiritualist (Stone) who has a family of rich American socialites under her spell. Firth's character might have been conceived as the antithesis of the Hugh Grant romcom lead – he is abrupt, charmless and fatalistic. When he can't work out how she does it, he allows his scepticism to drop and begins to enjoy life more.
In his New York films the big question did seem to have some urgency, and the supplying of the answer had some relevance. For the last decade though he's been on his European vacation and the big questions are now subservient to the scenery. Magic In the Moonlight feels dashed off – like the script is a first draft that could have done with a major polish and the performances could've used another take or two to really nail it.
Allen's films have changed in one important aspect over the years – they stopped being funny. The last time a Woody film made people laugh out loud was Deconstructing Harry in 1997. Now they are serious, or they are not serious. Magic is definitely a not serious one. It's junky, pointless but might raise a smile. Perhaps the question now should be what is the point of later Woody Allen films? They exist simply to rekindle the happy memories you have of earlier ones; though when the earlier one it reminds you of is A Midsummer's Night Sex Comedy, you may feel a little short-changed.
