Mixed or average reviews - based on 28 Critics

Critic score distribution:
  1. Positive: 12 out of 28
  2. Negative: 4 out of 28
  1. Allen has been criticized for leaving some of the plot lines up in the air and several characters in the lurch. But he seems to be making a point: Neat Hollywood endings are as phony and dangerous as Cristal's ramblings.
  2. It isn't the first time death has figured in an Allen movie, but the way he grapples with it here (leaving each character at a moment of irresolution comparable to staring down the man with the scythe) is much more potent and direct.
  3. 75
    Minor but still quite enjoyable. And like other minor Woody Allen pictures it becomes more interesting when placed in their larger context.
  4. 75
    It offers the small delight of watching a master step back from more ardent work to put together a diverting miniature. And in the scheme of things, that's actually more of an accomplishment than it might sound. Minor Mozart, after all, is still pretty darned good.
  5. There are enough pleasantries and good jests in this new film to make a meal.
  6. Bottom line: It's a good one, fresh, funny and vintage Woody.
  7. This kinder, gentler Allen is still clever, still amusing, and the film itself is a confection tempting enough to consider a taste. Yet there is that empty-calorie letdown after it's over. Maybe it's time to book another trip to Spain.
  8. Good and very pleasurable provided you know what you're getting into, which is a comic roundelay of amorous ambitions and delusions-punctuated by wistful old ballads like "If I Had You"-that lead mostly but not entirely to disaster.
  9. 70
    Much of the writing is good, and the acting is superb, but the constant wrangling wore me out at times.
  10. Reviewed by: Bob Mondello
    Hardly a laff riot, but then that's been true of Allen's movies for a while. It is, however, briskly cynical about human nature, graciously forgiving about human foibles, and situationally amusing about the spectacles otherwise sane people make of themselves when they trust their fates to the stars.
  11. 63
    The movie is forgiving. But the search for happiness is doomed by definition: You must be happy with what you have, not with what you desire, because the cost of the quest is too high.
  12. Has an empty, soulless feel.
  13. Although there are moments of humor in the film, many of them supplied by the delightful Jones, there are also long stretches of, um . . . "blah" might be the best word for it.
  14. The best scenes are hilarious sessions between the great Gemma Jones and the wonderful Pauline Collins as a charlatan fortune-teller.
  15. The movie ends just when complications start to set in, which makes you wonder how invested Allen really is in the little melodramas within this comedy.
  16. 50
    The talented cast fails to gel into a dynamic ensemble.
  17. It's a meandering and rather aimless movie that would be considered trite if made by another filmmaker, and yet it has such a family resemblance to other, better Woody Allen movies that it's easy to stick with it and enjoy it.
  18. Reviewed by: Claudia Puig
    Slight and only sporadically amusing.
  19. Three words: Late Woody Allen. In the autumn of his career, toiling exclusively in Europe, Woody is like an aging cabinet maker still blessed with craft but grown erratic in design.
  20. 50
    That You Will Meet a Tall Dark Stranger is not more dull is due in large part to the adorably flamboyant Punch (late of Dinner for Schmucks and Hot Fuzz).
  21. 50
    For the most part, everyone struggles through, with at best mixed success. The audience included.
  22. Reviewed by: Justin Chang
    Fitfully amusing and nearly saved by its distinguished cast.
  23. 42
    Like the worst of late-period Allen, the film recycles character types from his previous work without inventing new reasons to summon them into existence. They're left stranded, seven characters in search of an author.
  24. It's a highbrow romantic farce, without the laughs.
  25. 38
    A mirthless, joyless comedy with nary a hint of romance, mystery or justification for its existence.
  26. 30
    The paltry theme is that we can't predict the future, but I spent part of the time calculating how many more feeble movies Allen will make, based on his productivity rate (one per year), his batting average (four duds for every success), his current age (74), and his father's longevity (Martin Konigsberg lived to be 100). Are you ready for 20 more remakes of "Manhattan"?
  27. In practice, and played as farce, the characters are one-dimensional cutouts kept at a dogged remove. Their miseries are a bore – maybe to Allen, too, who abruptly ends the film, after so much inaction, when it finally catches some dramatic traction.
User Score

Generally favorable reviews- based on 42 Ratings

User score distribution:
  1. Positive: 4 out of 9
  2. Negative: 0 out of 9
  1. Mar 21, 2011
    The worse Woody Allen film I have seen for years, lacking both the venomous and pungent humour he is known for, or the atmospheric andThe worse Woody Allen film I have seen for years, lacking both the venomous and pungent humour he is known for, or the atmospheric and mysterious feel he has developed in his more recent features. The crescendo/irony falls flat and no clear resolution is given to almost all the substories apart from that of Helena. However, a bad Woody Allen film, still has many enjoyable moments and clever twists. Full Review »
  2. Dec 15, 2010
    "Not only there is no God, but try finding a plumber on weekends."

    Sally Naomi Watts / art expert and Roy Josh Brolin / physician and
    "Not only there is no God, but try finding a plumber on weekends."

    Sally Naomi Watts / art expert and Roy Josh Brolin / physician and author, in truths that medical writer, surviving on "food" maternal. Roy and Sally are married. Sally is angry with Roy, wants a child, he was not. Roy after a successful first book, fails to finish second. E 'became an insecure, weak, maybe, but ... Even Helena Gemma Jones / Sally's mother, is "fueled" by her former husband, Alfie Anthony Hopkins /, which "feeds", the young and handsome escort Charmaine Lucy Punch /. Helena, after the collapse of marriage to Alfie, come in alcohol, or rather it is the alcohol that comes in her. The new goal of his life is crushing loneliness that creates deep inner reflection and behavioral concerns strange. Those who share his days, he received quite a few jolts Roy and Sally experienced this, every day /. In the life of Alfie, meanwhile, enters Charmaine, and with it the pill of the weekend for the moment are the erotic fool head off. But, you know, the sildefinal have any contraindication to Alfie, however, does not matter that he could not distinguish the green of a table, from red to a bank account to languish, he only interested in the pink. Group, are part Greg Antonio Banderas /, Dia Freida Pinto / widower and Jonathan Roger Ashton-Griffiths /. Greg, the famous art dealer, inadvertently fed the hopes of Sally, Dia, a scholar of the composer Luigi Boccherini, feeds off those dreams of Roy and his family. Jonathan, a widower and anthroposophy, sells books high and esoteric symbolism. Who more than he can feed the hopes of Helena? - A friend presumed dead, pregnant with the presumption of paternity, an alleged seer, do the rest. Unfulfilled needs and desires, create frustration, regardless of the primary causes. Aggression is just around the corner, the primal instincts take over. They jump the friendships, loves, marriages. Certainties become uncertainties, dreams become reality and reality is often an illusion. Love is not loving, not paint and draw, is not climbing up.
    Allan Stewart Konigsberg, aka Woody Allen that, like it or not. To see the faces of the audience, the show within the show, the thumb is toward, not once but twice. I do not agree. Why a man who says "Not only there is no God, but try finding a plumber on weekends." Or, "For starters you should start dying, and so Tricca tracchete trauma is already looking beyond that." Is a man who gives himself and not for stage fiction. And then, I do not agree because the film gave me the opportunity to reread the words of a famous Italian "Codest today we can only tell you what we are, what we do not want."

    Good Ciak!
    Full Review »
  3. Nov 1, 2010
    The classic definition for a comedy is not jokes, but a happy ending. The latest from Woody Allen doesn't have much of either. It's aThe classic definition for a comedy is not jokes, but a happy ending. The latest from Woody Allen doesn't have much of either. It's a well-told tale that follows two couples (Anthony Hopkins/Genna Jones and Josh Brolin/Naomi Watts) through the tribulations in the relationships. While the are almost no laughs, the characters and their situations amicably pass the time. A cinematic trifle. Full Review »