(Woody Allen, 2005)
This is one more lame effort in an increasingly long line of lame efforts from Allen (who hasn’t made a really good film since Sweet & Lowdown, with the possible—but, to be realistic, unlikely—exception of Hollywood Ending, which I haven’t seen, so can’t comment on). It’s tempting to compare Match Point to the staggeringly abysmal Closer, since both are infested by a predominantly affluent transatlantic population of humourless tossers relentlessly engaging in soulless extra-marital ruttings. This would be slightly unfair, however, since in the case of Match Point, the affluence and the rutting bear at least some vague relevance to the plot. The main problem is that the precise nature of the pivotal decision faced by the main character towards the end of the film is not at all clear. Presumably, the dilemma he faces is supposed to be: poverty with a woman he loves versus affluence with a woman he doesn’t. But whether he actually loves either of these two women is difficult to judge (given that all concerned are humourless tossers engaging in soulless ruttings), and the “poverty” putatively threatened by the first horn of the dilemma consists in having to fall back on a career as an ex-tennis-pro turned coach (hardly the fucking breadline, is it?).
Match Point @ IMDb (UK)
2 comments:
I actually enjoyed this film, It was sucha departure for Allen. Itss weird I've heard from other people who have seen the film only to reactions. They either really reallyliked the film or they really really hated the film
I guess I felt it was departure for Allen becasue it was a tragedy and not a comedy. He was experimenting a bit with tragedies in Melinda/Melinda when he told the same story as a comedy and as a tragedy.
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