Download Play It Again Sam Woody Allen Full Movie
The best Woody Allen movies of all fourth dimension
From nourishment to nebbishment (and all points in betwixt), we rank the comedian-director's 45 features
He'due south made a movie a yr for decades—and we can't hide our broadest smiles when Woody Allen's white credits popular up on a blackness screen and the jazz music kicks in. As for the romantic movies, dramas and comedies that follow? We've got opinions. Accept a trip through our countdown of the all-time Woody Allen movies: his ups, his downs, his New York movies, his University Honour winners, his essential masterpieces.
Best Woody Allen movies: 45–31
45. Scoop (2006)
The worst of Woody's European jaunts, this one didn't even receive theatrical distribution in the country in which it'southward set: Great britain. Woody paired himself with Scarlett Johansson to play, respectively, a magician called the Great Splendini and a journalism educatee who goes on the trail of a killer. It's non radical to call information technology his depression bespeak.—Dave Calhoun
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44. Whatever Works (2009)
Larry David's indifferent shrug on the film's poster tells you all yous need to know about one of the Woodman's worst. On paper, the combination of David and Allen seems tin't-lose, but only sourness emerged from the real matter. Ingrained with bone-deep misanthropy, it'south hard to imagine this project being any better had the director made it in the 1970s with Zero Mostel, equally he originally intended.—Joshua Rothkopf
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43. Cassandra's Dream (2007)
The get-go of the 21st century was a hard time to be a Woody Allen fan. On a losing streak of London-set films, he crossed to the dark side with this thin drama starring Ewan McGregor and Colin Farrell as brothers who agree to do a hit for their uncle to go them out of a tough spot.—Cath Clarke
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42. Anything Else (2003)
Smack-dab in the heart of a halfhearted period for the Woodman, this shrill romantic one-act stumbles mainly in casting: As the manipulative, noncommittal Amanda, Christina Ricci never quite taps into humor. Meanwhile, Jason Biggs turns Allen'due south stammering everynebbish into a banal carbon copy. It feels like an American Pie sequel without the pastry.—Joshua Rothkopf
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41. Hollywood Catastrophe (2002)
In what feels more similar a padded curt story, the director-star plays a formerly great filmmaker reduced to overseeing Tv set ads. When he'south finally tapped for a large project, the guy suffers an instant, psychosomatic stroke of incomprehension—still the show goes on. The movie-set slapstick is tired, as are Allen's satirical jabs at moneyed showbiz types.—Joshua Rothkopf
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40. A Midsummer Night's Sex activity Comedy (1982)
The beginning film of what we can now call Woody's "Mia Period" didn't exactly promise bang-up things; it's a scattered, soufflé-light thing, aping Bergman's Smiles of a Summer Night without seeming to empathise it all that well. Yet, information technology's refreshing to run across Allen in a non-neurotic mood and, within the totality of his career, the film is refreshing.—Joshua Rothkopf
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39. Melinda and Melinda (2004)
Overly schematic, this was the 1 that had a agglomeration of erudite playwrights eating at Pastis, batting around a simple scenario, one of them shaping it as a comedy, the other every bit drama. As the fictional title character, intense Radha Mitchell can't pull off half of the equation—and it's hard to say if Winona Ryder, intended to star, would have done it any better.—Joshua Rothkopf
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38. You Will Meet a Tall Dark Stranger (2010)
Possibly the all-time thing you can say virtually this film is that information technology's the least bad project from Woody's London phase. A comedy with a taste as bitter equally arsenic, information technology has thinly drawn characters navigating marriage failures, the search for dear and fortune-telling. Not wholly terrible.—Cath Clarke
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37. The Expletive of the Jade Scorpion (2001)
This '40s-set screwball comedy came before long before Woody departed to brand films in Europe for several years. It features the director as an insurance investigator who's unwittingly hypnotized to carry out jewel heists; audiences struggled with the aging Allen putting himself in romantic situations with Charlize Theron.—Dave Calhoun
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36. To Rome with Love (2012)
An extremely patchy patchwork of stories set in modern Rome, this picture has tourist Woody meeting his Italian future son-in-police for the first time in the Italian capital. The loftier indicate is an opera vocalist whose talents merely emerge in the shower—so he takes the unabridged cubicle onstage with him, to cracking acclaim.—Dave Calhoun
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35. Magic in the Moonlight (2014)
A lighthearted romance set in 1920s Germany and French republic, this is ane of Allen's virtually charmingly performed efforts. Our hero, Stanley (Colin Firth, amusingly pompous), is a popular stage magician whose task is to deflate a self-proclaimed psychic named Sophie (Emma Rock). Nonetheless effort equally Stanley might, he's unable to uncover her trickery, and with each new "miracle" she performs, he falls deeper in honey. It's a simple premise that Allen complicates with an illusionist's expertise.—Keith Uhlich
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34. Match Point (2005)
Finally, a Woody Allen film to get verklempt nearly. His prior years had been hard on fans, harder on critics, but he returned to grade with this thriller set up in the richly appointed drawing rooms, lawn tennis courts and yachts of the English upper grade. (Er, who is this Woody guy anyway?) In swapping Manhattan for a slightly more expansive island, the director got closer to his career-long obsessions with Bergmanesque guilt and cosmic absurdity.—Joshua Rothkopf
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33. September (1987)
It'southward hard to option some other American director as consistently on fire every bit Allen was in the '80s, yet this Bergmanesque domestic drama outfoxed him. Notoriously, he reshot it with a dissimilar cast, merely the longueurs remained. Regardless, the presence of a majestically rude Elaine Stritch (R.I.P.) goes a long way. It remains Allen'south worst-performing film, but an intriguing one.—Joshua Rothkopf
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32. Shadows and Fog (1991)
Ane of Woody's less successful experiments with genre. Shadows and Fog draws on his beloved German Expressionism to create a world of murky morals and shifting allegiances, steeped in Kafkaesque angst. The film is cute to look at, but the mismatched cast-—John Malkovich, Jodie Foster, Madonna—and uneven script go out the moving-picture show feeling awkward and uneasy.—Tom Huddleston
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31. Everyone Says I Love You (1996)
Woody makes a rare foray into the world of musicals, in which actors not known for their soft-shoe or songbird voices (Drew Barrymore, Alan Alda, Edward Norton, the director himself) kickoff dancing and warbling at the drop of a lid. Not equally bad as you'd remember, but it wouldn't brand anyone's Allen A-list.—Joshua Rothkopf
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Best Woody Allen movies: thirty–21
30. Irrational Man (2015)
Woody's latest philosophical exercise strikes a balance between the darkness of Cassandra'southward Dream and the jazzy frivolousness of just virtually every film he's made since. The story of an unmoored professor (Joaquin Phoenix) who arrives at a Rhode Island academy for a new gig and promptly sleeps with Parker Posey, seduces Emma Stone and makes a killing, Irrational Man goes downwards pretty easy for a movie well-nigh the morality of murder.—David Ehrlich
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29. Small Time Crooks (2000)
Time to exercise those muscles of compartmentalization: Half of this lunkhead criminal offence one-act aches with obviousness, especially the overfamiliar plot (digging a tunnel under a nearby banking concern). Merely the other half is killer: two magnificent female turns, 1 from Tracey Ullman equally a nouveau riche social climber, the other from Elaine May, raising pitch-perfect dumbness to high art.—Joshua Rothkopf
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28. Midnight in Paris (2011)
In the motion-picture show that earned Woody a late-career box-role hitting, Owen Wilson vacations in Paris with his fiancée (Rachel McAdams) and her parents; over several nights, he accidentally travels back to the 1920s. Information technology'due south easily the best of Woody's European travelogue comedies, and the fantasy chemical element offers flashes of the director's earlier boldness.—Dave Calhoun
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27. Celebrity (1998)
Inexplicably selected to open that year's New York Film Festival, this wan, frequently tedious portrait of those on fame'due south margins features a performance by Kenneth Branagh that's probably the most irritating Woody impression ever committed to pic or video. Then again, Leonardo DiCaprio makes the movie essential and revealing as a hotel-trashing bad boy (i.due east., Leo in his Pussy Posse days).—Joshua Rothkopf
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26. Bananas (1971)
A peppy Marvin Hamlisch score propels this early on gutbuster, which finds the Woodman leading a revolution in an unnamed South American land. For the tape, that's actually Howard Cosell as Howard Cosell in the sports-commentary parody of an intro—not Jon Voight or John Turturro or whoever's played him onscreen since.—Joshua Rothkopf
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25. Manhattan Murder Mystery (1993)
Allen reunited with Diane Keaton for the start time since the appearance (and departure) of Mia for this trifle, which was reworked from material cut from Annie Hall. Woody can make delightful NYC comedies in his slumber, and even if less charitable viewers would say that's exactly what he did, at that place'due south however a ton of bully zingers here, likewise as a bumbling sense of Upper West Siders getting in over their heads.—Joshua Rothkopf
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24. Alice (1990)
A loose remake of Federico Fellini'southward Juliet of the Spirits (1965), Allen'due south romantic fantasy provides an infrequent showcase for Mia Farrow as an upper-class New York housewife whose placid beingness is upended subsequently she'southward put nether hypnosis. A unmarried-accept sequence where she confesses her feelings for costar Joe Mantegna is a comic-acting master class.—Keith Uhlich
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23. What's Up, Tiger Lily? (1966)
Information technology's non entirely accurate to say that Woody "directed" this spoof, since information technology'due south actually a Japanese spy motion-picture show (Key of Keys) with ridiculous overdubbed dialogue courtesy of the funnyman and his pals. Inspired and sophomoric past turns—the plot turns on a hunt for the globe's greatest egg-salad recipe—it'due south the bastard step-parent of MST3K.—Joshua Rothkopf
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22. Accept the Money and Run (1969)
Woody's first major one-act is total of important lessons for the beginner criminal: When breaking out of prison during a rainstorm, don't use a gun carved out of soap. Make sure that another gang isn't going to rob the aforementioned depository financial institution, on the same twenty-four hours and at the aforementioned time. And for Pete's sake, cheque your spelling! ("I am holding a gub on you.")—Joshua Rothkopf
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21. Radio Days (1987)
The Woodman's nostalgic tribute to the home entertainment medium of his childhood consists almost entirely of cocky-contained anecdotes, ranging from the hilariously irreverent ("You speak the truth, my true-blue Indian companion," says the young hero to his rabbi) to the somberly poignant (the nation awaits the fate of a child trapped in a well).—Joshua Rothkopf
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Best Woody Allen movies: 20–xi
xx. Everything You lot Always Wanted to Know Most Sexual activity, But Were Afraid to Inquire (1972)
Similar most multipart movies, this 1 features segments both good and bad—or, in this case, sublime (Gene Wilder in dearest with a sheep—he develops an alcoholic'southward taste for Woolite too) and silly (a behemothic breast terrorizing mankind) Woody himself plays a neurotic sperm, a sight gag that works on its own.—Joshua Rothkopf
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19. Mighty Aphrodite (1995)
Truthfully, the Greek chorus gets unfunny pretty fast. Just Mira Sorvino's sweet ding-a-ling prostitute proves that Allen is a behemothic when it comes to directing women. In a subtle fashion, this one-act comments wisely virtually the unfixable nature of people; the plot brings usa closer to being okay with exactly who we are.—Joshua Rothkopf
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eighteen. Vicky Cristina Barcelona (2008)
Just when Allen fans were most to give up the ghost, forth came his best film in a decade. On paper, it reads similar i of the manager'due south ickier quondam-man fantasies: the story of two immature American women in Europe (Rebecca Hall and Scarlett Johansson) seduced past an artist (Javier Bardem) with a crazy ex-wife (Penélope Cruz). Simply at that place are flashes of the old genius in this throwaway but enjoyable comedy.—Cath Clarke
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17. Sleeper (1973)
Perhaps the finest of Woody's "early, funny" pictures, Sleeper finds his standard nebbish cryogenically awakened in the yr 2173, when he discovers the Orgasmatron and diverse other sci-fi gags. Per usual, Allen employs a jazzy soundtrack, though he opts for Dixielandish tunes over Gershwin ditties this time.—Joshua Rothkopf
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16. Stardust Memories (1980)
Following straight in the wake of effervescent Manhattan, Allen's agonized existential-crisis comedy—something of a public meltdown—was destined to plough off part of his audition. Simply the moving picture has since plant a footing among Woody's best, non but as a smart riff on Federico Fellini'south managing director-every bit-hero 8½, but as a piece of cocky-referential hilarity in its own correct.—Joshua Rothkopf
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15. Interiors (1978)
Sandwiched in fourth dimension betwixt Annie Hall and Manhattan, this was the film with which Woody declared his honey for Ingmar Bergman. Wintry, tranquility and restrained, with not a hint of a gag (or Woody himself) in sight, it tells of iii grown-up sisters who find themselves in a tailspin when their parents unexpectedly announce their divorce.—Dave Calhoun
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fourteen. Deconstructing Harry (1997)
Afterward years of playing put-upon overnice guys, Allen shocked audiences with his portrait of the creative person as a resentful, self-loathing creep with a foul mouth and a penchant for prostitutes. Coming in the wake of his barbarous public separation from Mia Farrow, this is Woody at his most savage, satirical and self-mocking. A bruising, brilliant pic.—Tom Huddleston
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13. Another Woman (1988)
Further proof that some of Woody'south finest films are those that driblet the kvetching men to explore troubled women (encounter Interiors, Blue Jasmine). This i gives Gena Rowlands a plum office as a feted academic who simply realizes that she's behaved terribly to others when she accidentally overhears a woman (Mia Farrow) talking to her therapist through the walls of her home office.—Dave Calhoun
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12. Bullets Over Broadway (1994)
"I'm an creative person!" shouts John Cusack in the pic'southward offset line, and over the course of the side by side riotous 98 minutes, we larn, decidedly, he is not. Allen'southward Jazz Age backstage comedy is animated past a trio of inspired creations: Jennifer Tilly's ditsy gun moll turned theatrical terror; Dianne Wiest's imperious diva ("Don't speak!"); and Chazz Palminteri's gangster poet, hiding the true gift.—Joshua Rothkopf
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11. Love and Death (1975)
Russian literature takes it in the keister in Allen's gut-busting satire, in which he plays a coward forced to enlist in the Russian army who also wants to marry his cousin twice removed (Diane Keaton). At that place'south barely a lull in the laughter, and zippo beats Allen's internal monologue about wheat.—Keith Uhlich
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All-time Woody Allen movies: 10–1
10. Blue Jasmine (2013)
WouldBlue Jasmine be half as proficient a film with another actor playing Jasmine, the self-destructive lodge wife living a champagne lifestyle on lemonade money afterward her husband is sent to prison house? Mayhap not, only Woody Allen lucked out with Cate Blanchett, who gives a bright, Oscar-winning, career-all-time performance.—Cath Clarke
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9. Zelig (1983)
Allen stars in this expertly executed mockumentary as Leonard Zelig, a nondescript man with chameleonic powers who shows up in the darnedest places throughout the '20s and '30s. He's a proto–Forrest Gump, rubbing shoulders with everyone from Fanny Brice to Adolf Hitler, and catching the romantic centre of Mia Farrow's doting psychologist.—Keith Uhlich
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8. Sugariness and Lowdown (1999)
Off-kilter talents have often found voice in Woody's work, and the pairing of Sean Penn and a barely known Samantha Morton as, respectively, a 1930s jazz musician and his mute girlfriend is specially winning. The movie deals lovingly with the tunes of the menstruation (especially those of gypsy guitarist Django Reinhardt, an Allen favorite), and the faux-doc interview inserts give it a unique impact.—Dave Calhoun
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seven. Royal Rose of Cairo (1985)
Woody's at his nearly optimistic and upward-with-people with this fantasy of a downtrodden Depression-era housewife (Mia Farrow) whose world comes alive when the pith-helmeted hero of her favorite picture show (Jeff Daniels) steps downwardly from the screen and sweeps her off her feet. The result is both a giddy celebration and a quietly crafty investigation into the effect movie theater can take on its audition.—Tom Huddleston
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vi. Broadway Danny Rose (1984)
A agglomeration of hardworking comedians kibitz over java at the Carnegie Cafeteria. From their reminiscences emerges a wonderful (fictional) tale, about scrappy talent manager Danny Rose (Allen) and his fiercely loyal slate of also-rans. A loving tribute to old-schoolhouse New York moxie, the picture show also contains Mia Farrow's brassy Italian ballbuster, a wild transformation you'll never forget.—Joshua Rothkopf
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5. Husbands and Wives (1992)
This caustic comedy revolves around the romantic tribulations of two married couples played by Allen and Mia Farrow, and Sydney Pollack and Judy Davis. It's a trenchant examination of long-term relationships on the downswing, something that the real-world tensions surrounding the production (the motion picture was shot around the time of the Soon-Yi Previn scandal) only enhance.—Keith Uhlich
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four. Manhattan (1979)
Greatest opening in movie house history? Gordon Willis's glittering monochrome camerawork combines with Gershwin'southward glorious glissandos and Woody'southward scalpel-abrupt self-mockery to create the ultimate hymn to a metropolis, a sensation, a whole mode of life. The remainder of the picture covers familiar basis—romance, self-doubt, intellectualism, despair—with Woody'southward customary intelligence and insight.—Tom Huddleston
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3. Hannah and Her Sisters (1986)
Here are Allen's most exquisite performances: nuanced, perfectly counterbalanced, lovably neurotic. There's not a weak link in the bandage, and while it's a shame to unmarried out an essential performance, it has to exist Dianne Wiest'southward unsettled Holly, the kind of desperate, flailing Manhattanite that future managing director-writers would spin entire careers out of.—Joshua Rothkopf
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2. Crimes and Misdemeanors (1989)
The film in which Woody's comic and serious sides most comfortably align, this ane tells of two barely connected characters, an eye md (Martin Landau) and a filmmaker (Allen), each with intricately messy private lives. Landau handles the doctor'south rising guilt and claustrophobia especially well, while the whole enterprise is entertaining, thoughtful, morally inquiring and hits simply the right level of amusing.—Dave Calhoun
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ane. Annie Hall (1977)
Woody Allen famously wanted to call itAnhedonia, the clinical inability to experience happiness—funny for a flick that gives us so much pleasure. This all-time and best-loved of Woody's movies is the anatomy of a breakup, showtime at the end of New York comedian Alvy Singer'due south relationship with Annie (Diane Keaton, in an iconic turn). It'southward packed with gags, and withal there is a painful message at its heart: that meeting your soulmate doesn't always guarantee a happy ending.—Cath Clarke
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Source: https://www.timeout.com/film/the-best-and-worst-woody-allen-movies
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