Femme fatales were a staple in film noir movies of the 1940s and 1950s, but today you can still find many modern examples of wanton women who seduce their way into getting what they want. Just think of Amy Adams in “American Hustle” and Rosamund Pike in “Gone Girl.”
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.