MATCH POINT (2005)

SHORT REVIEW: A long winded but intelligent discussion on post modern morality. Unfortunately, it is as interesting as a long winded but intelligent discussion on post modern morality. Woody Allen provides a timid examination of morality and chance in an existentialist universe. I suppose if I were a mope who used to grapple my live-in girlfriend’s adoptive daughter, I’d resist all logic and believe in a meaningless universe as well. Allen is one of the greats of American cinema. There is little to deny this fact. Even after all of these years, his ability to present real characters caught in moral dilemmas, even though Allen’s worldview denies actual morality, is still sharp. What he has lost is his humor and spotless sense of irony. Where jokes and comedic flair lifted his earlier works such as Broadway Danny Rose, Hanna and Her Sisters, Manhatten and Anne Hall, his later works are clogged with intellectual navel gazing. In his final years it seems he is more interested in crying in his beer than celebrating life. I am not an expert on Allen, nor am I as versed in his work as other film geeks. I find his work to be self important, whiney and often populated with vibrant but annoying characters. This film continues much of the trends set in Allen’s other works. Overall, the film is slow and self-aware. Allen is too intent on making his point to be able to do so with any subtlety. If you can stomach having existentialism crammed down your throat you may find some interesting performances. Jonathan Rhys Meyers plays Chris Wilton, a handsome and talented tennis player who effectively cons his way into the lives of a high-class family. Once installed into the family through marriage, he falls in love with Nola (Scarlet Johannsen), the troubled girlfriend of Chris' brother-in-law. Chris and Nola begin a doomed secret relationship. The scenes between the lovers are well written and offer the film’s best moments. The remainder of the film is loaded with seemingly endless musings on Allen’s part. Again, his need to have the piece mean something dominates his ability to tell the story in the first place. Much of the success of the film is awarded to Meyers and Johansson who manage some very interesting performances. Given Allen's dry script, the two squeeze quality work from their otherwise wooden role. The supporting cast also does well in their efforts. Matthew Goode excels as Tom, Chris' brother-in-law and Brian Cox offers yet another stoic but notable performance as Alec Chris' father-in-law. In fact, this may be Cox's best since his monumental performance in SuperTroopers. If you are a fan of Allen’s previous work, in particular his more philosophical pieces, this movie should satisfy you. If you like brevity you’re best served by making your time with this film as brief as possible – don’t watch it. RELATED REVIEWS: Other Scarlett Johannsson films The Island (2005) In Good Company (2004) Categories: film, movie review, Jonathan Rhys Meyers, Woody Allen, Scarlett Johansson, Brian Cox