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Match Point (2005)
At
last, Woody Allen has let go of the neurotic, worn comedy formula that he
has been clinging on to with limited but repeated success for the past decade. Match
Point is absolutely the right note to hit for him, and it's a joy to
see him work his magic with the pen (which is where I believe Allen has
the most talent). Still though, Match Point is a split experience. The
biggest problem is that with Allen being 70 years old and American, the
dialogue between posh, British 20-somethings sounds extremely phoney and
stilted here - especially in the first act, when the film suffers from it.
And what with the Irish background of our protagonist? I would think that
both Irish and Londoners have reason to feel upset. It is always risky to
write milieus that you know little about - which helps explain why Allen
has set almost 30 movies in New York. Thankfully, after a while, Allen's
script and the drive of the film overtakes the attention, overshadowing
the at times shallow and one-dimensional upper class settings and Jonathan
Rhys Meyers' questionable acting. Looking good and trying to impersonate
Jude Law won't do - especially not in a role as rich as this. With more
talent and creativity, Rhys Meyers could have made this into
Oscar-potential, because Allen gives him so much to act off of. The
elegance and classical staging that follows, however, is simply fine
filmmaking. In sorts, Allen continues where he left off with Crimes
and Misdemeanors, but this time paying homage to the style
of Hitchcock. When the plot is at its best and Allen is at his most
inspired, Match Point is truly magnificent (the twist at the end is
pure genius). Of course, there are questions to be asked here that Allen
ignores (for instance concerning the police work), but the film is
suspenseful and intense, and will keep you on the edge of your seat until
the very end. Something that hasn't been a habit with Woody Allen's films
lately.
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