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My problem with Woody Allen these days: It's the way his characters talk. Plus, a few thoughts on Andrew Sarris

As someone who will always consider Woody Allen a god, I admit that I’ve been pretty grumpy about his movies over the past few years. The last one I really loved was Match Point, the addictively squirmy, London-set drama of lust and ambition and adultery and murder he made back in 2005. It was the rare thriller with a true Hitchcock edge — and, for my money, a more brilliantly insidious (and complex) variation on the themes of Allen’s 1989 Crimes and Misdemeanors. In the seven years since Match Point, however, the press, perhaps grateful that Woody, in his 70s, is still churning out a movie a year, seems to have stopped asking for him to be major again. Audiences, too, have grown freshly fond of Woody as a kind of sweet genius of cosmopolitan fables, a maker of luscious desserts that don’t pretend to be much more than desserts. And so you’d have to be quite a curmudgeon to knock these movies, right? READ FULL STORY

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