Anytime Woody Allen releases a new film, moviegoers naturally debate where it ranks on his filmography. Is it a triumphant return to form like last year’s MIDNIGHT IN PARIS, or a dud like 2009’s WHATEVER WORKS? Is it a vibrant echo of his early masterpieces, or a dispiriting reminder that he’s now 76 and his best years may be behind him? There’s rarely a middle ground: It’s either Good Woody or Bad Woody.
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