knives wrote:Yeah, I would put his last decade of work over any other post Farrow decade and honestly over all of his pre-Love and Death work.
I'm with you on this. From Love and Death
, then from Match Point
I will say I was too flippant with my Scorsese comment. I have not seen his most recent film, so shame on me for a similarly lazy remark. I tend to like Spielberg's output from 2000- more than anything he's done in his whole career, but I just thought the BFG and it's CGI mess was a sign the run was definitively over.
Back to Allen, it seems over on the To Rome with Love
thread that there are indeed other fans of that film. The casual ridicule it receives was making me wonder if there was something wrong with me for finding it funny. It has the closest kind of gags to his earlier, funny movies than anything else. The bathtub opera joke worked for me. Rome, Paris, and London's Scoop all work for me because the jokes are funny; Allen's breezy approach works with the casual tone of the movies. They still explore some of his tropes and ideas. In these movies Allen seems to take advantage of the wide-eyed tourist look, rather than attempting to re-create the setting as he did in Match Point. An aside, maybe I mentioned it, but Cassandra's Dream is often praised by a small group of fans. I haven't seen either since they came out, maybe time to revisit. Ribs' point is basically correct: with Allen's fans you could probably find some to praise these movies, even Whatever Works, which I have almost nothing positive to say about.