Ponto Final: Match Point

This film at first doesn't seem like a typical Woody Allen film but at the end you know it's one and why. While the story and theme is familiar, Mr Allen brings new perspective and avoids clichés. He goes to the themes he explored in "Crimes and Misdemeanors" but without the Ingmar Bergman homage. Instead it's more fun and exciting to watch. I guess the young hot cast and new location doesn't seem like the usual Woody Allen film, even though he used young hot talents before. This one belongs to his best films which is good news to his fans. The cast is excellent but the supporting cast outshines the leads somehow. Matthew Goode made a strong impression and sure to become a star in the near future. I'm glad Woody Allen changed locations and used some of the best British actors for a change. I guess people who will read this comment, will already know about the plot, so I will avoid it. I watched the film at Cannes where it was well received by critics and the audience.

'Match Point' is gripping and entertaining as well as well-made - the structure, the storytelling, the confidence of style are all impeccably crafted. The performances and cinematography in this film are all-around great. Jonathan Rhys Meyers, Emily Mortimer, and Scarlett Johansson are all excellent, and the rest of the cast lends fantastic support. This is easily Woody Allen's most plot-heavy film, and you can tell that he had a great time putting it together. Simply damn good story-telling.

Match Point just joined Brokeback Mountain and Cinderella Man in the top three films for me this year. Like Brokeback Mountain, however, it is almost impossible to write a reasonably intelligent review without writing a spoiler.

I have been a hot and cold Woody Allen watcher, but was only a fan during his comedic phase. So, despite hearing from a few reliable sources that this is Woody's masterpiece, I was skeptical and went in with few expectations. I am glad. Approaching the movie this way allowed it to creep up on me.

The NYC Jewish dialog is gone. The quirky sense of humor is nowhere to be found. the hypersensitivity is missing. Where's Woody? Well, he's in London, but the place and time, despite the opinions of some critics, are largely irrelevant in this film.

There is only one line in this film that indicates its origin - it has something to do with 'intertwined neuroses' and nearly made me laugh.

The first 3/4ths of this film is almost completely taken up with character development, but also contains all of the basics of the inexorable plot that truly unfolds near the end. The characters are all quite likable, and, if you're like me, you will yearn for a happy ending. Watch out! - you've just been hooked and Woody's about to reel you in!

Match Point draws its audience in quietly and slowly at first, defining its territory as a smart, hip, and sophisticated character study early on (in no way unexpected for Mr. Allen), but then it takes an irreversibly sinister turn as one man threatens to bring everybody we have grown to love and respect down with him.

The performances and cinematography in this film are all-around the best I've seen this year. Allen uses a lot of very close-in face shots, and his cast handles it with ease, performing their parts with accuracy and no lack of passion. Jonathan Rhys Meyers, Emily Mortimer, and Scarlett Johanssen are all excellent, and the rest of the cast lends excellent support. I found no fault in the pace or the plot - this is easily Woody's most plot-heavy film, and you can tell that he had a great time putting it together.

The story line of Match Point is powerful, disturbing, and exceedingly clever. Philosophical folks will likely want to talk about it afterward. Some will find it frustrating and others will find it pretentious. Still others will point to Woody's own life and claim that this film is some form of perverse confession. Well, from my perspective, it is simply damn good story-telling.

Highly recommended for adult audiences.

A drama about lust, ambition and luck, this is the first of Woody Allen's urban adventures to be set outside New York City, i.e., in London, and with the exception of one performer, all the actors hail from Britain or Ireland. Chris Wilton (misty-eyed Jonathan Rhys-Meyers) is a former lower rung touring tennis pro from Ireland now trying to scrape by. He lands a teaching job at a toney private tennis club, where he is befriended by the handsome young Tom Hewett (Matthew Goode), who comes from a wealthy family. Chris comes round the Hewetts' house for drinks and dinner, meets Tom's sweet but marginally attractive sister Chloe (Emily Mortimer), one thing leads to another, and they marry.

Meanwhile, Chris has met Tom's fiancée, the struggling American wanna be actress, Nola Rice (Scarlett Johannson). For Chris, meeting Nola is lust at first sight. But she is off limits, until Tom breaks up with her in favor of another woman. Now, despite being a virtual newlywed, Chris pursues and impregnates Nola. The narrative then proceeds along a well worn path: Chris must somehow dispose of his predicament without sacrificing his marriage (he does genuinely care for Chloe, never mind the family fortune). Bad things happen. I cannot say more about the resolution without shamefully spoiling things for you.

This film is a mixed bag. The basic theme is formulaic. We know it from such classics as "A Place in the Sun" and "Room at the Top": poor boy meets rich girl and sees a vision of Paradise on earth. The trouble in "Match Point" is that the (anti-) hero is not nearly as sympathetic as the principled, brooding Montgomery Clift was in "Sun." Rhys-Meyers is frosty, cool, and way too untroubled until close to the end. Nor, on the other hand, does he have the slick, psychopathic charisma that Laurence Harvey mustered in "Room." Rhys-Meyers instead comes off as an unconvincing kid, for all the daring his course of action requires, in the same sense that the boyish Matt Damon did not seem up to the title role in "The Talented Mr. Ripley"; ditto for Leo DiCaprio in "Catch Me if You Can" and "The Aviator." (Regrettably, box office appeal is a very different matter than proper casting.)

I thought that Brian Cox seemed lost in his role as Alec, head of the Hewett clan; Penelope Wilton fares better as Hewett's wife, Eleanor. This brings us to the female co-leads. Ms. Mortimer is excellent as the pigeon-toed, plain but endearing, trusting Chloe, strained by her infertility and riffs of disaffection from Chris. She nails the complexities of this role beautifully.

Ms. Johansson is simply marvelous. As ever a luminous visual presence on the screen, she also shows once again her impressive range in convincingly inhabiting her characters. Her American girl here is small town coarse, provocatively seductive, and more than a little desperate. How different from her pensive, measured, well-educated, retiring character, Charlotte, in "Lost in Translation." And both so different yet from her nearly mute, servile yet perceptive Dutch maid, Griet, in "The Girl With the Pearl Earring." Ms. Johannson is not only a rising star, at 21 she is already a splendid actor.

The photography and production design are lush. I especially enjoyed the brief scenes shot at Covent Garden, though the operatic theme in general is somewhat mystifying. Is it the affectation of the rich seeming to dig opera that counts? Is there some special significance to the recurring use of ancient scratchy recordings of Caruso arias? If so, Mr. Allen has kept entirely quiet about it amidst his other comments at the film's website. The best things in this movie are its "luck" theme, its visual delights, and the two female leads. The rest is just OK. My rating: 8/10 (B+). (Seen on 01/18/06). If you'd like to read more of my reviews, send me a message for directions to my websites.

Match Point is a cool, classically elegant and concise film that addresses all of the big questions--love, morality, death, fate, chance--without ever seeming heavy or self-conscious. I've never seen a Woody Allen film to match it. As a matter of fact, I can't remember another film of late that I thought was quite this good. From the opening shot, the film draws you in and doesn't let up, moving from shot to shot with a fine sense of rhythm and a narrative drive that builds the viewer's curiosity through a series of unexpected switchbacks. Rhys-Meyers is superb as an ex- professional tennis player from a poor Irish background who has turned social climber. Too proud to accept a favor from his upper class friends without immediately offering to pay it back, he affects an interest in opera and Strindberg. The viewer at once sympathizes with him and winces as he strains to seem refined and self-assured. Allen has put together a superb cast of young actors who bring his near flawless script to life so convincingly that one almost immediately suspends disbelief and becomes absorbed in the story. The shots of London are luxuriant and spacious, never self-indulgent. Few films, novels, or plays manage to form such rich dramatic material out of characters' inner obstacles. A classic piece of drama that reaches toward the likes of Shakespeare and Dostoevksy, every facet--from structure to dialog to editing to sound--is brought off with panache. This is not only Allen at his best but an example of what the cinematic medium is capable of when properly exploited.