Mad Max: Fury Road – A Review


I don’t condone starting anywhere but the beginning when it comes to watching a series of films, but today I saw Mad Max: Fury Road in 3D with no prior knowledge of Max’s madness and walked away from it utterly impressed.

Through a series of brash, screeching flashbacks at the most unhelpful moments of Max’s (Tom Hardy) escape from the lair of the dudes from the beginning of Star Trek: Into Darkness I deduced that Max wasn’t able to save the lives of a woman and a child in times past and it still haunts him. This was literally enough to have me on his side, it showed: he has a conscience, the events will play a part in his future decision making and most importantly that he isn’t perfect. No heavy-handed copy-paste spoilers from the last film necessary. I got what I needed to know.

The aforementioned albino part-naked desertkin do claw Max back though and make our lone wolf an unwilling blood donor to Nicholas Hoult’s character, Nux, a respected but weakened driver of sun-worn metallic desert vehicles. These two, joined by chain and blood transfer tubing, continue to chase after Charlize Theron who’s seized a rescue mission opportunity to liberate several beautiful women including that girl from that silly robot movie that we try not to talk about anymore.

Liberate them from who? Well, imagine a mix of Bane and the Troll King from the Hobbit, and squish that being into a Tupperware suit of armour and you’ve Immortan Joe (Hugh Keays-Byrne). Joey boy rules over a bunch of impoverished humans by limiting their access to water while he gorges on mother’s milk instead and bangs the cuties to further his bloodline. Theron’s stolen bounty are the most desirable women for miles and they’re smart enough to want better for themselves anyway; Immortan Joey’s feathers are inevitably significantly rustled when he finds them missing and the subsequent chase constitutes the meat of the film.

And what dusty, explosive, petrol-drenched delicious meat it is. All the vehicles and costumes have a very steampunk, Fallout 3 post-apocalyptic hardiness to them born out of when the “world was killed” (something I’m sure Immortan Joe was a part of, as he was in the original MM film, but not something I know about in detail) and little moments capturing this feel like an armoury of attachable steering wheels really sealed the deal for me. The world does seem empty, colonies of warring tribes separated only by sand, salt flats and violent sandstorms all beautifully visualised which helps greatly with following the escape from one volatile zone to the next.

Backed by a roaring soundtrack (sometimes too roaring; there were several inaudible dialogue scenes similar to Interstellar) with orchestral and guitar elements, Hardy and Theron lead a pretty badass legacy (as far as I know) of films with plenty of gusto. I’m not sure how many of their stunts they performed themselves and frankly I don’t care as they all looked great jumping, swinging and pole vaulting between the arrays of vehicles hording around their unstoppable war truck trying to blow them up. There are tonnes of explosions, a fair amount of hand-to-hand combat involving just about everyone and it builds to a strong climax with plenty to keep your eyes open. In my experience the 3D worked well too with only a couple of cheesy “Wooooah it’s like it’s coming right at me!!!” moments which to me feel a bit too Spy Kids.

On top of all that, this article alludes to their being another battle between our misogynistic and feminist film lovers over the strength of the film’s female characters and their right to be there in the first place. Read into it what you will, I, being a new member of the Mad Max fan club, cannot comment on Imperator Furiosa’s (Theron) right to instruct/order Max to do things other than saying that Max and her clearly were working towards a common goal and part of being a team is situational task designation. I’m a huge advocate of more women in film too, I think all gender-issues were tastefully dealt with. I mean, here, Rosie Huntington-Whitely’s character is smart and beautiful and relevant to the story, now contrast that to her other film, Transformers AOE. Case in point.

So overall, watch this film. Support different types of action film instead of propagating the dominance of Marvel or Fast and Furious franchise films. It’s impossible to come out of this unsatisfied and that’s what I believe any action movie-goer wants in their hearts, a good ol’rush.


Say Anything – Late to the Party

SAy Anything

Say Anything is many things and to discuss its themes too heavily here would certainly ruin its impact for a first time viewer, fortunately saying it’s one of the most convincing, gentle love stories ever committed to film I think is more than adequate to warrant a watch from even the most heartless potential viewer.

Lloyd (John Cusack) is the guy so many young men think they are, or desperately want to be. Academically uninteresting but life-smart, naively confident without an inflated ego, Lloyd knows what to say and how to say it. Eventually when backed by his closest friends (all, oddly enough, females) he makes the phone call to Diane (Ione Skye) to ask her out. Weaving round her father’s paternal instincts masterfully like Messi through Munich’s defence, Lloyd through the trickery of brutal honesty camouflages himself as worthy and thus sets in motion 1989’s most evocative romance.

Lloyd and Diane’s first outing together is to a local graduation party wherein the tone is set for the rest of the film. She’s clever, like, insanely. Unfortunately, she’s also wildly out of touch with everyone but her father (portrayed by a joke in a graduation ceremony speech that bombed harder Million ways to die in the West) because of her miniscule social life leaving her widely admired but narrowly loved resulting in disconnected conversations and graduation album messages from her peers. Lloyd on the other hand is almost the polar opposite, sharing everything with pals, male and female, and family members, resulting in a truly well-rounded character.

And as we all know, opposites attract. She has a heart of gold but has never really shared it, he has so much love to give but never really given it; they change one another entirely for the better. Consequently I think the film is truly supportive of young people believing in the power of being themselves, looking inwards to solve their problems and being courageous enough to reach for what they want. I also admire it for its funny and entertaining portrayal of being a 19 year old beginning a relationship, everything from meeting the parents to the excited shakes on the precipice of physical love.

Furthermore, I admit I’ve watched a hellishly large number of romantic (comedy) films for a 22 year old single guy too, good and bad, and from that I can really vouch for the screenwriting here as the single most engaging part of Say Anything. No line makes me cringe like several did in Boyhood’s generally strong representation of adolescence and the sense of urgency created by Diane having to leave for England in 16 weeks to study, of time running out, similar to how Before Sunrise made me feel rushed off my feet is masterful.

Nowadays, I appreciate a film just making me feel anything; Ebert said the movies are empathy factories and I wholeheartedly agree as I was constantly questioning myself as to what I would do in such a doomed-love situation and with iconic scenes like the holding of the radio (with that song *swoon*) seen here I was simply astounded. I’m a big fan of Crowe’s filmography like I’m sure a lot of people are (though I haven’t seen We bought a Zoo) so I’m really looking forward his new film Aloha too.

All in all, watch this film. Male, female, black, white, straight, gay, fighter jet, it really doesn’t matter your situation, I think this is a film about how being yourself can really, really, pay off; and that’s what life’s all about right, isn’t it?


The Kid with a Bike – Late to the Party Review


I’m glad this was my entry point into Dardenne film; Two days, one night has been staring me down on Netflix for too long now and after such a great experience here my hopes are even higher. Why? Well, a fine line is walked here by some masterful filmmakers who balance drama with thrills and cinematography with editing creating something truthful and exciting. They also bring to life a badass 12 or so year old character who makes Liam Neeson look lackadaisical when it comes to taking things back.

The Kid with a Bike at its core is a film about the importance of parental relationships in our formative years. Thomas Doret plays Cyril Catoul, a young lad stuck in a foster home and visiting his dad (I don’t recall his mother being mentioned at all?) on weekends. When the visits and communication become more and more sparse, Cyril’s heart is broken; he has a dad, however no idea why they can’t be together. This feeling of isolation and confusion becomes an attempt to flee his social captivity but to no avail, he made it to the flat but Daddy wasn’t there (Austin Powers will never die) which only leaves him more confused.

Later, Cyril is adopted on the weekends by the local hairdresser (Cécile De France) for reasons that aren’t explained but don’t really matter and is enticed further with her buying back his bike, previously sold by his father for reasons he can’t imagine but we can speculate over. Cyril’s character is definitely what sets this film above the majority though and really contrasts the maturities we have as children that we lose as we grow up against the advantages we gain from losing our innocence. The bike is a focal point for us as the audience to follow Cyril’s decision making and how he fights ferociously decisions being made for him.

Technically speaking, it’s a masterpiece. Close-up tracking shots mid-ride accentuate the happiness Cyril’s found in his own safe haven roaming the streets on his bike, conversely wider shots of him bombing down busy streets, a tiny lad, amongst people and cars kick our parental protective instincts into overdrive. The film is 87 minutes long because it’s edited like a work of art should be. Storytelling and editing intertwine magically about 30 minutes in when Cyril, the hairdresser and the Dad agree to meet in the town centre but Dad doesn’t show. “Let’s go to his house” but Cyril denies and heads off round the corner to check if he’s there but as he turns the corner we cut to them both walking up to Dad’s front door, emphasizing Cyril’s innocent blind faith.

All in all I have to say this film deserved every last drop of praise and every ounce of award it got back in 2011 when it was released. A young boy with the resolve of an action hero and the heart of.. well.. a young boy. I can’t recommend it more.


While we’re young – A Review


Will Noah Baumbach be the next Woody Allen? Don’t get me wrong, that’s not a bad thing. I’m a big fan of both too but I’m obliged to acknowledge the prevalence of over-educated, creative industry-types mingling in up-state NY in both directors’ repertoires.

“While we’re young” tackles our need to feel purposeful and how the direction of the need changes as we grow older. Much akin to “The Squid and the Whale” and “Frances Ha” (the extent of the Baumbachs I’ve seen) our creative, this time an almost outta time filmmaker (Ben Stiller), whose masterwork is stuck in post-production purgatory becomes unsatisfied with the rut he’s unknowingly slipped into. “We could go anywhere if we wanted” ”If we planned like a month in advance, yeah”. Naomi Watts plays his significant other, they sit at home on their tablets, they go out to eat, but they’re both bored.

One day they meet a young couple played by Adam Driver and Amanda Seyfried who act like they used to live with Hansel. They’re full of ambition, spunk and cool, intellectual vigor and this slowly chisels our middle-aged heroes into the people they want to be… or does it?

It be comedy first though, in a similarly bittersweet way to Mike Leigh’s “Life is Sweet” or “Happy-go-Lucky” where observation of life’s mundane banalities or hitting of meaningless milestones becomes funny. Even though a lot of us find it hard to relate to a filmmaker we can instead relate to his insecurity and doubt in tackling a project he loves, heck, I often question why I write about films when a Buzzfeed article regarding Iggy Azalea picking up dog poo garners thousands of views. Then I remember, as Sam Smith once said, “I do it for, I do it for the love”.

At no point do we go full mumblecore like “Frances Ha” could be described as doing, the film looks fine with no distinguishably interesting shots like those of TSATW though those could well be pinned on Anderson and Yeoman’s influences as producers. What we do get though is effective social commentary on the necessity of aggressiveness and drive to get big jobs and how as we age, almost everything becomes a personal project.

Though this film felt far too much like re-watching “Magic in the moonlight” (which in itself is hardly unique) I would definitely recommend travelling to a narrowly released showing of Baumbach’s latest. You don’t have to be an intellectual like Baumbach might want you to be to enjoy it, I promise. Ya filthy philistine.


The Babadook – A Review


The Babadook

Like a beautiful, dark-angel burning away the premonition that the genre is dying, standing tall above a sea of over-budgeted yet underperforming witless torture porn and jump-scare tat; The Babadook is more than just scary, it’s horror. True horror.

So what constitutes a horror film? In my opinion, horror movies should instil a sense of dread or angst that we can feel rising so much so that we, the audience, just for an instant contemplate having to leave before it becomes over-whelming. If I don’t get that hit, that “Thank God this is Netflix and pausable”, then it just isn’t horror. I felt it several times recently during Under the Skin and I’ll never forget the hair-raising elation of Max Schreck/Klaus Kinski looming over their respective Harker interpretations or just about any time Michael Myers bursts into shot in Halloween.

As alluded to then, The Babadook strikes these notes cleanly without rushing or dragging (Whiplash reference) and comes together as a really solid piece. The story is relatively straight-forward; Australian actors Essie Davis and Noah Wiseman play mother and son Amelia and Samuel. We’re shown through flash-back and dialogue sequences that the father of the family died in a car accident whilst driving to the hospital for Samuel’s birth, an event Amelia subconsciously and unfairly partially blames Sam for. On the days approaching Sam’s 7th birthday, or the 7th anniversary of her husband’s death, Amelia reads an unexpected bedtime story to her energetic, apparently odd-ball son; a story called The Babadook and unfortunately tumbles into a world of paranoia and grief.

Set in modern Australia, yet looking like dreary suburban England, we watch as Amelia shrinks away from society and into her mind in a similar fashion to Ellen Burstyn’s character in Requiem for a Dream. Amelia is a carer for the elderly by day too, something known to be incredibly emotionally draining, so we feel for her even more when her sister can’t relate to her or help her and Sam’s outbursts at school escalate her stress and initiate a bout of insomnia.

The film’s scariest moments are at night as Amelia and Sam are stalked from the inside and out by what I can only describe as grief personified. On almost every establishing shot of the large, melancholic blue decorated house (Top marks – set design crew) the light reduces just a hair to accentuate night’s imminence, like a yawn or shuddering of the eye-lids hinted at falling asleep in Nightmare on Elm Street. Close-ups are used sparingly and instead shadow is used masterfully not just to fleetingly reveal our monster (and fully reveal it, RIP my boxers) in classic horror fashion but also to  showcase Amelia’s transformation as she releases 7 years of bottled up grief.

The performances are great, Noah Wiseman is definitely one to watch for the future, director Jennifer Kent pushes him into creating a loving child struggling with life without a father figure whilst trying to survive around a psychotic mother. A scene where he cowers against a dresser is so distressing it could quite easily be cut-pasted into an NSPCC charity ad.

The Babadook is an original, well-written and truly scary Australian film. If you’re a fan of Horror I’d definitely recommend it as it honestly will stick with you. Anyway, I’m off to watch Ouija again, fucking love that film, can’t believe the Oscar snub.


Birdman – A Review


Birdman is the kind of film Woody Allen would recommend you if you liked his Bullets over Broadway classic but wanted something more self-aware and cerebral but just as funny. Directed by the hugely talented Alejandro González Iñárritu, Birdman is the first mainstream film since last year’s Her to attack multiple deep-rooted themes of human life in such a beautiful, subtle yet funny way and better yet be consolidated with multiple Oscar (nomination?)-worthy performances.

My favourite kind of film is one that’s seemingly a script built around thought-provoking ideas and concepts. In an age where we stare more into Gorilla glass than our lover’s eyes Her worked as social commentary; another example could be Interstellar which I thought made an interesting case for love as a force that could transcend time and space. Here, we’re watching the most meta film about the state of the arts possibly ever made that touches on and pokes fun at themes of celebrity, art criticism, mental illness, self-acceptance and how that can be affected by how one is publicly perceived.

Keaton plays himself if he used to be Birdman, not Batman, and instead of deciding to continue being a film actor like he did, took a dive into the world of theatre. Birdman was prolific back in the day and Riggan (Keaton) is haunted by his alter ego’s voice every day as he strives to perfect the piece he adapted from a novel, directs and stars in. Why though? Is it because he’s worried he won’t be successful? Does he even want to be on Broadway or is all his effort simply a cry for help, an attempt to escape a degrading, money-grabbing franchise that controlled his life for too long?

Like any film there are highs and lows for Keaton’s character which flesh him out nicely and truly make you invest in his brilliant performance. Early on, Mike (Edward Norton), a driven, outrageously cocky (maybe cocky isn’t so appropriate in hindsight..) young actor who’s only truly alive on the stage, and Riggan have a brilliant improvisation session that transforms their wooden script into something real and dynamic. Later, Riggan isn’t so happy after confronting his neglected wild daughter (Emma Stone) and we wonder how real Birdman really is and consequently lots of spoilers happen.

If you want to talk Birdman though you have to talk style and direction. Iñárritu’s fellow Mexican countryman Emmanuel Lubezki, the film’s DP, is without doubt one of the most decorated and talented geniuses of film working currently with credits such as The Tree of Life, Y Tu Mama Tambien and Children of Men to his name among many others. Similar to Hitchcock’s Rope the film plays primarily as one single shot with masterfully hidden cuts. Imagine being on the “It’s a Small world” ride in Disney except the annoying puppetry is replaced with a screen and you just flow, seamlessly through the film. It’s wonderful, some might say a little exhausting. The floaty-cam and over-the-shoulder shots do feel very Tree of Life too. The rhythmic drumming score feels momentous and important, usually without overlaying dialogue similar to Wong Kar-Wai’s In the mood for Love did and will likely also be recognised at this year’s Academy awards. The film is an clear amalgamation of the work of talented people working how they want to, including the correctly casted actors, just how film should be.

And well that’s exactly why the film is written like it is. It documents the struggle of people searching for prestige over celebrity and vice-versa in an incredibly fickle world where a critic’s review can destroy your life’s work when art is supposedly subjective. It’s a darkly funny truth.

A thing is a thing, not what someone says about that thing. Well, I say this thing is brilliant but that’s just like, my opinion, man.


Horns – A Review

If Daniel Radcliffe in fancy dress performing a Twihard’s adaptation of Gone Girl makes you horny then you’re in for a treat (Not a trick… Halloween pun). The latest film from Alexandra Aja, director of The Hills have eyes, Horns is a 2 hour fantasy crime drama with unnecessary elements of modern horror films.

The plot is straight-forward; the female half of an apparently smitten couple winds up dead and the male, Radcliffe playing Ig, is ostracized by his small town’s bored-looking community as well as the media. A struggling Ig wakes up the next morning to find he has sprouted devilish horns which supernaturally force people he converses with to share their innermost thoughts as well as allow Ig to see people’s memories as a series of flashbacks when he touches them physically.

My biggest gripe with the film, and I suppose is therefore more to do with the book it was based on, is that the horns feel entirely without purpose throughout. First of all, there is no explanation as to why the horns are consigned to him. I expected in an all too lengthy scene with younger versions of the main characters that when Ig has a close call with death some kind of soul-selling would occur… just some kind of explanation would have sufficed! All the other gimmicky horny scenes were just for comic effect (fighting journalists, outing gay cops etc) or video-nasty style out of the blue horror elements for example setting up jump scares or causing characters to self-induce drug hallucinations so we can see a bowl of maggots on screen (no effect on character arcs or storyline).

This is why I believe Horns would have been considerably better as a crime drama. Radcliffe’s performance was strong, apart from a few passionless cringe-worthy screams and lines, he really portrayed the fear and guilt needed for this type of role. His accent, like Emma Watson’s in The Perks of Being a Wallflower, was adequate to my ear and non-distracting. Replace horn forced witness flashbacks with interrogation (Radcliffe strong-arms a couple of confessions anyway), generally improve screenwriting to reduce the painful dialogue instances, especially between kids (thought I was watching Boyhood again at times) and a lot could be taken from this for future genre-adjusted projects.

All that being said; the film is visually attractive and really locks you into the Truman Show-like globe of a town that we follow Ig around in. The film’s ending is spectacular and satisfying and several big name cameos help to light up parts of the film that might of otherwise dragged on too much more than they already do.

If you’re looking for something scary, look elsewhere. This is not the Halloween film that the release date might imply and that could be something that leaves you disappointed in itself. Horns has no strong themes, nor interesting characters but it does have enough gags and storyline to keep you interested and maybe see its potential too.

Rating: 6.5/10.

Up in the Air – Late To The Party

UP in the air

TL;DR: A groom on his wedding day cowers terrified before the enduring, towering thoughts of the rest of his life as a married man, a potential father, grandfather and unavoidably an eventual dead man. Initially, he’s stricken with cold-feet but considering the alternative of being alone (potentially forever) he returns to the service. “Up in the Air” is a jet-setting story about the value we place on our freedom as individuals with next to no film-making turbulence, plane and simple.

With the emotional yet funny “Juno” being the only other film of Jason Reitman’s work that I’d seen I had reasonably high hopes for “Up in the Air”. Ryan Bingham (Clooney) works a niche job probably more publicly despised than tax collectors; he’s a professional personnel terminator a.k.a Bingham fires people for a living. Bosses America-wide are too scared of confronting their long time employees so Bingham’s employers whisk him around for over 300 days a year doing their dirty work. He’s good though, a renowned public speaker on the importance of avoiding tying oneself down, Bingham is able to highlight the positives and opportunities in losing a job with a tactile yet professional face-to-face manner.

That’s until Natalie Keener (Anna Kendrick), a young high-flyer fresh out of college, revolutionises the company by proposing to ground Bingham and his fellow fuel-guzzling termination agents and create a Skype-like digital firing squad. Ironically, this would leave Bingham out of a job, something he wouldn’t be too happy about especially as he’s come to like this lone wolf lifestyle as he nears his life-time goal of 15 million Airmiles and his name on a plane. Meanwhile, whilst Bingham teaches Natalie how firing people in person is more humane, Bingham engages in a saucy hotels-only relationship with another jet setter and behind all this his sister (played by Melanie Lynsky or Rose from Two and a Half men) is about to be wed. There’s definitely a lot going on in this film and thankfully it never feels cluttered partly due to the plane journeys themselves and their accompanying overhead cityscapes and titles acting as location- and thereby act/plot markers.

George Clooney is great as the lead man with his suave smooth talking he really looks like someone who’d fly across the country just to fire you though could do with releasing himself into the role a little more. This time though, Anna Kendrick is the shining light, she pulls off the ambitious grad looking to make an impact with ease and is great to watch. Her comedic timing (especially during the boat party) and emotive face is exposed magnificently through dialogue that cuts through Clooney’s no-frills character, right to the core of the film’s message.

But what might the message be? Well, there’s a few in my opinion that all end in a similar argument to Sean Penn’s “Into the wild”; an event shared is infinitely better than if it were spent alone. Clooney’s character struggles with commitment, opting for a lighter free-roaming lifestyle that even escapes contact with his own family because this is how he feels safest. He has an apartment but he’s really a rich homeless man; his work is his life even more so than the poor people who he fires who still have families to go back to. In contrast, Kendrick’s character is only in her early twenties yet craves a relationship enough to follow a boy across the country into a job she isn’t suited for. “Wouldn’t you just like someone to talk to?” asks Natalie, “I’ve got hundreds of people all around me I could talk to” says Jack, in an airport. Slowly, the two characters unfurl one another’s guard, trying to expose and dissect our instinctive human need for interaction.

Above all, “Up in the Air” is a superb example of what modern “mainstream” cinema should be. This film is a success because: we look into the world of an interesting person that isn’t too far from reality not to be believable, the film doesn’t stray from its foundations nor overly delve into its message and become too schmaltzy and the screen-writing is hilarious enough to carry heavy themes subtly into an uplifting, enjoyable and classy dramedy.

A real high-flyer, 8.4/10.

Magic in the Moonlight – A Review

magic in the moonlight

TL;DR: Quirky periodic opening credits music; check. Assorted quotes from history’s great thinkers; check. Neurotic yet likeable lead (often male) and beautiful supporting actress; less agreeable than usual lead, but check. “Magic in the Moonlight” is Woody Allen’s newest addition to his Euro-tripping new-wave that’s as funny as “Midnight in Paris” but not as sober as “Vicky Cristina Barcelona” or “To Rome with love” and therein finds its happy medium.

Allen’s “Love and death” is one of my favourite comedies, “Annie Hall” one of my favourite Rom-Coms and “Manhattan” is simply one of the best films of all time. The way Allen wrote himself into his characters and now into the characters of other actors is brilliant for fans of his neurotic, well-read, pessimistic, self-deprecating and cunningly insulting sense of humour and “Magic in the Moonlight” is no exception.

The notion of the subjectivity of nostalgia he raised in “Midnight in Paris” was superb in my opinion. The idea of whether to love the artist or the (wo)man first in a relationship or the compromise of visionaries in theatre, Allen can put his character and ideas into many actors and interesting plots making him one of the most adaptable yet stylistic directors in the business today.

Here Allen possesses Colin Firth who plays Stanley, a travelling magician whose masked impersonation of Wei Ling Soo has made him internationally famous though unmasked he remains reasonably publicly anonymous. Stanley is well-read, heavily opinionated and rather pompous but also enjoys a happy engagement and lives out of a large home in Belgravia, London. After an almost perfect performance including the Elephant-Vanish and transporting from a sarcophagus across the stage to an empty swivel chair, an old friend visits with a proposition. He’s informed that in the South of France Sophie Baker (Emma Stone) is playing a rich family for fools with her “act” as a very loveable, believable psychic/medium. Always-right Stanley, a well-practiced debunker of the dark arts, agrees to try to force her hand when his fellow magician colleague could not.

Firth is great as the cynical, smirking Stanley. A few scenes in particular where he is observing Sophie Baker’s powers are hilarious because he’s simply in the background, out of focus, yet you know what he’s thinking and it includes the words codswallop, malarkey etc. The film is beautiful, set in the South of France and with beautiful costuming, Emma Stone is elevated to angelic prettiness despite having to pull silly séance faces now and again.

For all the praise, unfortunately I must say the final 20 minutes felt out of control like the director was trying to throw too many ideas at me at once. “Midnight in Paris” delivered its message in a brief exchange between two characters. “Magic in the Moonlight” raises notions about the relationship between blind faith and happiness and our understanding of the unknown; unfortunately we also have two extremely superfluous long word vomit extravaganzas that seem a little too inconsistent with their characters for my liking to further force this down our throats.

A refreshing change of pace and direction for Allen and lovers of his work, a film I’d take a pretty lady along to.