Match Point

Along with Interiors(in a way), Match Point seems to be one of Woody Allen's most divisive films and that's understandable. With me, it is good but not great, interesting but Allen has done better(much worse as well). The ending was surprising which wasn't a problem, but it was also much too rushed and ambiguous, at odds with the rest of the pacing of the film. Jonathan Rhys Meyers and the script also didn't come across as consistent to me. Meyers is handsome and does make for a creepy sleaze in some parts of the film but at other points he underplays so much that he comes across as one-note. The script does have a very neat and healthy balance of sporting analogies and psychological questions, beautifully observed in distinctive Woody Allen fashion, unfortunately there are some clumsy moments and some out-of-place mordant humour(if anyone disagrees that's fine, it's just personal taste). The London locations, it's entertaining spotting the familiar ones, look splendid though and the filming reflects the dark, gritty nature of the story very effectively. The score is haunting, giving an ominous tone to scenes in need of it, and opera enthusiasts will love the healthy dose of opera excerpts throughout(though you wished they had a grander approach). The story even with the clear influence of Allen's 1989 masterpiece Crimes and Misdemeanours(a much better film) is an absorbing one, despite much of it being a slow-burner. Especially in the second half which takes a more violent turn without feeling mismatched. The gritty atmosphere worked in the story's favour as did the neatly interwoven plot points and story layers(the romance did have some resonating moments), and the characters as ever with Allen had a fair amount of realism though Chris was not very easy often to root for. Allen directs with control and assurance, though he's at his best in comedy-dramas like a lot of his films from the late 70s all the way through to the early 90s. With the acting, while Rhys Meyers didn't always convince, the largely British do some fine work, especially Matthew Goode and Brian Cox- James Nesbitt has been much better though- and Scarlett Johnansson in sultry, compassionate mode is superbly cast. Overall, interesting film and a good one(at its best even very good), but not great, Woody Allen has done better. 7/10 Bethany Cox

Unlike most of his films which are usually romance or comedy or both, 'Match Point' is a suspenseful character-driven thriller. Woody Allen adopts a very Hitchcockian style in 'Match Point'. It isn't like anything he's made before. His fascination with England is interesting and you do see that he makes a lot of use of the English sights (though some may think the showing of monuments etc are clichéd). His other fascination seems to be actress Scarlett Johanssen whom he has already cast in his more recent three films. Though I have never found her convincing as an actress, here she actually does a fine job but the film clearly belongs Jonathan Rhys Meyers. Many seem to complain about his accent or his restraint but, in my opinion, he does a wonderful job playing a complex and difficult character. An adorable and vivacious Emily Mortimer shines. She is a scene stealer and it is good to finally see her in a role that exposes her talent. It's also good to see Brian Cox in something different for a change and Penelope Wilton has always been a dependable actress. Allen does a superb job in building the suspense by following the lead character and exposing his thoughts. The film is said to be loosely based on Dosteyevsky's 'Crime and Punishment' and there are several references to his works. Opera music is cleverly used in the story as the characters are shown to be deeply drawn towards it. Lastly, 'Match Point' is another one of Allen's winners. It's impressive that at this age, and after so many duds, he could make a film that looks so modern and feels fresh.

Match Point just joined Brokeback Mountain and Cinderella Man in the top three films for me this year. Like Brokeback Mountain, however, it is almost impossible to write a reasonably intelligent review without writing a spoiler.

I have been a hot and cold Woody Allen watcher, but was only a fan during his comedic phase. So, despite hearing from a few reliable sources that this is Woody's masterpiece, I was skeptical and went in with few expectations. I am glad. Approaching the movie this way allowed it to creep up on me.

The NYC Jewish dialog is gone. The quirky sense of humor is nowhere to be found. the hypersensitivity is missing. Where's Woody? Well, he's in London, but the place and time, despite the opinions of some critics, are largely irrelevant in this film.

There is only one line in this film that indicates its origin - it has something to do with 'intertwined neuroses' and nearly made me laugh.

The first 3/4ths of this film is almost completely taken up with character development, but also contains all of the basics of the inexorable plot that truly unfolds near the end. The characters are all quite likable, and, if you're like me, you will yearn for a happy ending. Watch out! - you've just been hooked and Woody's about to reel you in!

Match Point draws its audience in quietly and slowly at first, defining its territory as a smart, hip, and sophisticated character study early on (in no way unexpected for Mr. Allen), but then it takes an irreversibly sinister turn as one man threatens to bring everybody we have grown to love and respect down with him.

The performances and cinematography in this film are all-around the best I've seen this year. Allen uses a lot of very close-in face shots, and his cast handles it with ease, performing their parts with accuracy and no lack of passion. Jonathan Rhys Meyers, Emily Mortimer, and Scarlett Johanssen are all excellent, and the rest of the cast lends excellent support. I found no fault in the pace or the plot - this is easily Woody's most plot-heavy film, and you can tell that he had a great time putting it together.

The story line of Match Point is powerful, disturbing, and exceedingly clever. Philosophical folks will likely want to talk about it afterward. Some will find it frustrating and others will find it pretentious. Still others will point to Woody's own life and claim that this film is some form of perverse confession. Well, from my perspective, it is simply damn good story-telling.

Highly recommended for adult audiences.

What a throughly engrossing evening Woody Allen has provided. This film has been, by and large, poorly received by the British critics. I cannot understand why. Yes, it does have the strongest echoes of Crimes and Misdemeanours, but if a director/writer can't borrow from his own product, who can? This isn't funny Allen -- there are few laughs -- but it is an extremely intense and successful serious Allen.

Does Allen's magic transfer to my home city? You bet it does; lovely locations; Notting Hill, the Tate Modern, the "Gherkin" in the City, all look great but are also entirely relevant. Many critics said he didn't have an ear for British dialogue. I simply don't hear that -- it may be a bit stagy at times, but the writing is spare, to the point, and literate. Few trans-Atlantic clunkers.

Yes, there are some silly bits; bits where you wish any half-intelligent Englishman had watched the film and said "Wood, old son, this is cobblers". British detectives don't call themselves "Detective so-and-so". They might be Detective-Sergeant or whatever. The force that polices London is the Metropolitan Police, not the "London Police". Perhaps Allen didn't realise that his main copper, Ulster actor James Nesbitt, sounds a parody of the amusing roles he plays in some widely-seen British Yellow Pages adverts. Little things, so easy to iron out, that detract just a touch from credibility.

Scarlett Johannsson -- what an actress, is she really only 20 or whatever? She packs huge power and stunning looks, if occasionally getting a trifle near Glenn Close in Fatal Attraction. Jonathan Rhys Myers does his forlorn sports coach bit, as from Bend It Like Beckham. The solidly Brit supporting cast is entirely believable, even if their effortlessly affluent lifestyle takes a bit of swallowing. Genuine surprises at the end. This is a thoroughly satisfying evening at the movies.

...and what a great stroke of luck it is to have sat through Woody Allen's latest, "Match Point." Fans of Woody could sense his comeback in the tragedy half of his last effort, "Melinda and Melinda." It was far more compelling than the comedy half, and the philosophical ideas it brought up were the best Woody Allen had given us in a long while. Here with "Match Point" he explores the notion of luck and gives us his best film since....well, since I don't know when. He proves here that when he leaves himself out of the cast, and changes locations (the transition from New York City to London is as flawless as it is invigorating), he can deliver the goods. This film, free of all the typical Allen shtick, and full of noirish twists and surprises, is every bit as good as Robert Altman's "The Player" or "Gosford Park," and like those two films, it's the best kind of return to form you could hope for from a past master.

Chris Wilton (played moderately well by Johnathan Rhys Myers, who comes across as a more handsome Joquin Phoenix) is a failed tennis pro from Ireland who gets a plum job at a snobbish country club in London where he meets up with Tom (an appropriately British Matthew Goode), woos his sister, Chloe (an adorable Emily Mortimer), and has an affair with Tom's flighty fiancée, a struggling American actress named Nola (a ravishing Scarlett Johansson). The film starts off like a more refined version of last year's tawdry affair, "Closer," with Allen exploring the love lives of semi-bored, over-educated filthy rich Brits who when not hopping in and out of each other's beds are hob-nobbing at the opera, the latest art exhibit, or lounging around their lavish estates reading and drinking. There's also a hint of "The Talented Mr. Ripley" in its exploration of the class system and Chris' obsession with infiltrating this exclusive and beguiling society. Thankfully, we're spared all of the weirdness of an atrocity like "Ripley," as Allen keeps it all very clean, sheen, clever and classy.

The film takes some dark turns and has some operatic overtures, spiced with some Dostoevsky references and plenty of pondering on luck. Allen here doesn't seem to be writing off the need for hard work completely, but to achieve a truly privileged life, where one can get away with just about anything, you better have a lot of luck.