WOODY ALLEN’S MIDNIGHT IN PARIS (2011)

For the last fifteen years, with the release of any new David Bowie album,  at least a dozen or so music critics begin their review with: “It’s his best work since ‘Scary Monsters.’” They will repeat themselves with his upcoming “BlackStar,” in contrast to Bowie’s long-held aesthetic of avoiding repetition. Pedestrian critics are as commonplace as pedestrian artists (in whatever medium) so it was unsurprising when a plethora of reviews for Woody Allen’s Midnight In Paris (2011) opened with: “It’s his best film in years.” Like Bowie, Allen has made an effort to avoid needless repetition, which is not the same as working through periods of purposeful repetition. Allen … Continue reading WOODY ALLEN’S MIDNIGHT IN PARIS (2011)