ragingbull_2005

A rare anthology that truly works - and how.

Seven stories, each framed as an answer to a supposedly common question about sex. The film kicks off and concludes with a bang, though there are a couple of misfires in the middle. Still, the hits more than make up for the misses.

Woody Allen writes, directs, and stars in four of the segments - as a court jester, a director, and even a sperm. He's joined by other comic legends like Gene Wilder and Burt Reynolds, who deliver standout performances.

The one-liners are relentless and genuinely funny. The film runs a tight 85 minutes, marvelously edited - at least four of the seven segments are absolute gems, each lasting just 10-15 minutes. A couple are merely decent, but never dull.

Only gripe? The third segment is in Italian, and Prime Video doesn't offer subtitles - a definite bummer.

Still, I haven't laughed this hard in a while. Woody Allen's comic genius is on full display here.

It feels like The Sinners was directed by two different Cooglers-one responsible for the first half, and another for the second. If I had to rate them separately: the first half is a solid 8, the second a disappointing 4.

The film starts off brilliantly. Set in the Deep South during the 1930s, it plunges us into a world of chain gangs, overt racism, and raw human struggle-all wrapped in the soul of music. The characters are distinctive and memorable, the performances are top-notch, and the world-building is rich and atmospheric. It's a western, a drama, and a musical all at once, and somehow it works. For a while.

Then comes the second half.

This is where things fall apart. The pivot to horror-specifically vampires-feels abrupt and half-hearted. There's barely a story holding it together, and the horror/action sequences barely last 10-15 minutes. They lack any real suspense or memorable set pieces. The execution feels rushed and undercooked, especially after such a powerful setup.

The final 5-7 minutes attempt a bold anti-Klan message, and it's likely this moment of violence and symbolism that won over many critics. But for me, it was too little, too late.

What's most frustrating is the wasted potential. This could've been a truly unique vampire film-rooted in history, rich in theme, driven by character and song. Instead, it leaves you wondering what could've been if the second half had lived up to the promise of the first.

After a string of average and forgettable films, stumbling upon Radio Days felt like a revelation.

This is Woody Allen at the very peak of his creative powers-sharp, sentimental, and masterful. The film is packed with witty lines, one-liners that knock you sideways with laughter, and a gallery of quirky, lovable characters. All of Allen's hallmarks are here-and in generous doses.

What sets Radio Days apart is its poignant central theme: life in the golden age of radio. Set between 1939 and 1944, it opens with Orson Welles' infamous War of the Worlds broadcast that had people convinced Martians had landed. Against this backdrop-spanning pre-WWII America to the height of the war-the film follows a Jewish family in Rockaway Beach as they navigate daily life, dreams, and disappointments, all while radio plays in the background like a shared heartbeat.

The radio isn't just a device here-it's a binding force, a source of escapism, family bonding, and personal aspiration. Allen captures the magic of this era with warmth, nostalgia, and incredible attention to detail.

Clocking in at just 85 minutes, Radio Days packs in more story, emotion, and character than films twice its length. It's very funny, achingly tender, and filled with smart, self-aware humor.

One of Allen's most underrated gems-and one of his very best. Highly recommended.