Set in the near future (specific year unnamed), Theodore is a sad sack. His marriage just broke up, he does not want to go out or do things, like hang out with friends, and his day job is writing personal letters (love letters, thank you letters, etc.) for other people who are just as pathetic as he is. So, what does he do to try to change things up some in his life: he buys a new computer with a personal, talking, interactive, emotive operating system (OS). And this OS changes his life.
Posts Tagged: best screenplay
The third and last (?) in the Richard Linklater directed and Julie Delpy/Ethan Hawke starring series, Before Midnight again features more dialogue and banter between characters than plot. But, after three movies, we are used to that and we know these characters so well, we pretty much know what they are going to say and do. Not that this is a good or bad thing…but it’s comfortable. Like an old pair of slippers, these films have charmed us, endeared us, and romanced us. A little refresher on the series: Before Sunrise (1995) is set in Vienna and has Jesse (Hawke) and Celine (Delpy) meeting on a train and taking a risk by spending the whole day with each other. They talked and walked and laughed and talked and walked and laughed some more. As they fell in love, so did we with them.
I have made no secret that one of a handful of my favorite movies of the 21st Century is Woody Allen’s Match Point. I liked Midnight in Paris (2011) a lot. I enjoyed Cassandra’s Dream (2007), Vicky Cristina Barcelona (2008) and To Rome with Love (2012). But, for me, 2005’s Match Point is Allen’s 21st century masterpiece. Why? Well, it’s not Allen’s usual depressed, anxious and, at times, tedious schtick. That worked fine in his early films, ala Annie Hall (1977) and Manhattan (1979) but over time, it just got overdone and overused. Also, Match Point is far from Allen’s usual comfort zone…it’s NOT set in New York and it’s not a comedy —in any way. Crimes and Misdemeanors (1989) also can be seen as an Allen drama, as could Interiors (1978) and September (1987), but those still have some of Allen’s trademark nervousness (Crimes and Misdemeanors even features Allen in a role where he acts in his usual Allenesque way). Match Point does not feature any characters with serious neuroses. Yes, they are troubled but they are troubled in a calm, passionate way…not in a psychological, overly-emotional manner.
So, what do we have in Blue Jasmine, Allen’s latest film?