Celebridades

Judged against other movies, Celebrity rates higher than it does when judged against Woody Allen movies. In other words, the director's consistent pace and huge body of work virtually begs for critics to keep ranking each of Allen's films against past efforts and so on. Celebrity is not as good as Deconstructing Harry or Everyone Says I Love You (to cite just two of Allen's recent pictures), but it still bears the hallmarks of Allen's success: great ensemble work, witty and intelligent writing, amusing set-pieces, and excellent photography. Kenneth Branagh fills in as the Woody character, and channels Allen's vocal tics and mannerisms to the point of perfection or distraction, depending on one's point of view. Judy Davis, a welcome sight in any movie, captures Branagh's ex-wife perfectly. The remainder of the cast aids in Allen's dissection of modern media celebrity, and does what it can with this good, but not great, material.

It is a witty, funny black film in which Kenneth B. plays the best "woody allen" of all times. The direction of photography is traditional compared with his last films.

An excellent satire of celebrities with more believable less neurotic characters than I expect from a woody allen movie. The subtle critics to catholics (instead of jews) are good for a change.

I would recommend this modern classic not only to woody's fans but to anyone who likes independent films.

Besides, the rabbis and skinheads being accidentally put together in a waiting room (and getting along) is something you won't see in anywhere else.

As Woody Allen is too old for the lead, Kenneth Branagh literally steps into his shoes and does such an effective job at playing Woody that he must have watched every Allen movie at least six times. The film is hilarious but deep--like his best films. It explores our obsession with celebrities and the media's obsession with them, and I wonder how much "acting" Leonardo DiCaprio did for this film. But the more I thought about it afterwards, the more I realized how sad the movie is at its core--the word "help" being written in the sky may be what Allen is thinking--is this what we have become? So obsessed with fortune and fame that we literally prostitute ourselves and become someone we aren't (i.e. Judy Davis' character)?

The movie seems more timely now than in 1998. Americans seem to be more interested in what Paris Hilton does on TV, or what J-Lo and Affleck are up to, than what's going on in the world. "Celebrity" nails it, and like Deconstructing Harry, does it in a rather vulgar manner. But you have to wonder how much of this is based on real events (again, I cite Di Caprio). This was the second movie (after 2 Days in the Valley) that made me aware of the statuesque beauty of Charlize Theron. I didn't think she could act worth a hoot (that opinion recently changed), but she sure looked like a rich runway model to me. This movie is one of my favorite Woody films of the '90s, and one of his most underrated. It's also visually beautiful, in black & white that recalls the photography of Manhattan.

A lot of the reviews have said that this film is one of the weaker recent Woody Allen movies, but I actually thought it was his best since Husbands and Wives. It's much more subtle but every bit as scathing as Deconstructing Harry. Everyone says Woody's films just aggrandize himself, but I feel that his latest few have been exercises in self-loathing.

Certain people (in these very pages) have felt that one is supposed to sympathize with the Branagh character. Certain people, we must remember, are on crack. Branagh plays a low-life louse who gives the word narcissim a whole new meaning. He is looking to revitalize his life by entering the world of celebrities. He is contrasted with his ex-wife (the always amazing Judy Davis... who doesn't she do more films?) who is also looking to change her life, but not necessarily by becoming famous. She does become famous, and near the end she says what I think is the key line: "I've become the kind of person I've always detested, but I'm happier." My friend and I had an argument later about what the film was saying: a) that Judy has given up on seriousness and meaning by becoming a celebrity, but now she's happier, or b) that the "entertainment products" that these people turn out don't matter at all, and that if one can find personal happiness (Judy eventually becomes much more social and comfortable with people) by doing them, then that's great. I don't know, but this is a far more interesting treatise on finding happiness than the dreary "Happiness" was.

This is also the funniest Allen film in years, with two total laugh-out-loud lines which I won't spoil here.

Overall, I felt the celebrity part, and all the walk-ons we not at all the focus of this movie, it just uses that world as a backdrop. This film is also very sweet and real, with the scene in which Judy Davis visits a psychic being one of the most intimate and touching I've seen.

One last thing, it's fun to see a Woody Allen film in New York City, because you can watch the audience trying to identify all the places where the scenes are set.

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With Bullets Over Broadway, Mighty Aphrodite and Everyone Says I love You, Woodie had strung together a number of very likable and quite funny films. With this and Deconstructing Harry he gets more serious. Too bad. This bilious mess could have used an editor. I think, because he can get so many big stars so easily, he writes too many characters into this film, without the spread-thin script being able to support all of them.