Add a Review

  • This is a wonderfully funny story, affectionately parodying old-time musicals, and evoking a nostalgic regret that they are not being made any more. Some of the vocalizations are amateurish (Alan Alda is an exception) but Dick Hyman's musical arrangements and the performances of the musicians are fine. Alda's rendition of the old Cole Porter song "Thinking of You", accompanied by the marvelous Dick Hyman on the piano, is first rate.

    Woody Allen provides many hilarious moments. He uses the great violinist Itzhak Perlman as the punch line to a carefully constructed gag. He uses the invasion of privacy of a session of psychoanalysis as an offbeat plot device. He satirizes the romantic young and the do-gooding impulses of the old. He takes us from Manhattan to Venice and Paris. He involves us in old tunes and comically elaborate dance routines. He gives us a good time.

    Everyone Says I Love You is one of the very few movies I have ever gone back to the theater to see another time. I even bought the tape.
  • In an old fashioned musical, the loves and losses of an extended upper-class family in Manhattan are followed in song from NY to Paris and Venice.

    The company logo comes onscreen followed closely by the white title on a black background. Seconds later we are into the first song as two young lovers walk in the park - and it's not until 100 minutes later that it lets you go again. The plot is nothing more than lots of strands of love and loss tied together by family connections. None of the stories really have any great significance but are backed up by wit and some charming song and dance numbers. This is whimsy at it's very best.

    It feels like Woody Allen has really relaxed and is making films that hark back to an older age - indeed his usual style is tuned down a little to make it more accessible and more enjoyable. He has several black characters, his humour is witty but less cruel than usual and his narrative is driven by a teenage girl rather than himself. It feels so free of his usual cynicism that it adds to the weightless charm it already has. He handles the song and dance scene with such vigour and such imagination that you find yourself wondering why he hasn't done a musical before.

    The superb cast all catch the charm and light feel perfectly. Not all of them are great singers but they all do well and give their best (except Barrymore who refused and was dubbed). The usual stars are complimented by plenty of well known faces - Alda, Goldie Hawn, Lucas Haas, Portman, Tim Roth, Roberts and of course the wonderful Edward Norton.

    This is 100 minutes of lightweight wonder. It has no rough edges, no difficult issues, no cruel jokes and very little swearing. Only the coldest heart could fail to warm to this little charmer.
  • I must say that musicals don't really appeal to me, maybe it's because I'm young and am accustomed to more action and special effects from today's typical style... but this movie totally surprised me! The star cast including Drew Barrymore and Julia Roberts is what initially allured me to give this movie a chance and I'm glad I did. Now I know why Woody Allen is considered a genius. I mean I've seen parts of some of his earlier films and they didn't really draw me in either, but this one is truly a winner. Woody Allen chose his cast well, he obviously has a good sense of judgement in that area. The music and singing was actually a welcoming change for a film. I never thought I would like a musical so much. Each character's life was perfectly intertwined with all the others and the plot moved along in an up-tempo beat. It was also nice to be brought to France & Italy via cinematography. It seemed musicals were somewhat of a trend the year this film came out (1996), because that's also when "Romeo & Juliet" starring Leonardo DiCaprio surfaced too. It was a good turn of events to educate younger generations (like myself) into appreciating a more old-fashioned genre of film that was almost extinct until this film came along and rebirthed it.
  • So, Everyone Says I Love You is pretty much the typical Woody Allen comedy, complete with all the staples that define his oeuvre; lots of neurotic characters, a performance from the man himself, New York City...only this time, there's one big difference - it's also a musical. It's well known that Woody Allen is a big fan of cinema, and therefore it is not unreasonable to assume that this film is Allen's tribute to the classic musicals of yesteryear. Everyone Says I Love You is typically Woody Allen in spite of the obvious difference in genre to the rest of his movies. I'm not a fan of musicals, and if I were to be overly critical of this film; I would say that it would have been better as a straight comedy-drama, without the musical element. However, it's the musical side of the piece that gives it it's unique edge, and dropping that from the film would have ensured that it isn't the movie that Allen wanted it to be. Not to mention the fact that the musical side of the movie makes it striking in the way that only Woody Allen can be.

    For this film, Woody Allen has put together a terrific cast. Of course, a number of stars is part of Allen's trademark, but I think he outdid himself with the cast of this movie, which includes the likes of Edward Norton, Natalie Portman, Drew Barrymore, Julia Roberts, Goldie Hawn, Tim Roth, Natasha Lyonne and Alan Alda. Not to mention Woody himself. I'm not a fan of all of those film stars, but seeing a number of familiar faces in a movie together is always a treat for a movie buff. The song and dance sequences in the film aren't all that well put together, as the songs are largely unimaginative and the film fails on the whole to capture the grandeur of the classic musical. However, the drama side of the movie is very strong; and as usual, Woody's script is funny, touching and obscure in equal measure. He's given himself the best part, and has most of the other characters commenting on how great he is, but Woody Allen without a huge ego just isn't Woody Allen. I don't rate this as a movie at the very peak of Allen's filmography, but it's a strong one and it's recommended to his fans.
  • A few reviews ago, I said that Woody Allen could do anything as I praised his diverse film career. Woody was really out to test me when he went the musical route with his 1996 film, Everyone Says I Love You. The dialogue was exquisite and the musical numbers were great fun, but the film lacked the depth I have come to love and expect from a Woody Allen film. The film is basically an exploration of the romantic relationships of a number of people within one family as they evaluate what they are looking for in life and how the other person would help or hinder their life's ambition. The many romance angles were a bit busy and the lack of depth makes Everyone Says I Love You a largely forgettable blip in Woody Allen's filmography.
  • A fresh and original musical comedy, the film takes classic songs and fits them into a new vision with some different dance routines. The choreography is lively and the actors and actresses do not look like professional dancers, which helps to make the music and dance side more natural. It is still as witty and funny as one would expect from a Woody Allen comedy, and the ensemble cast brings forth some great performances, even from actresses such as Goldie Hawn and Drew Barrymore who are not usually amazing. Other than light commentary on love and romance in New York and international society, the film is lacking in depth, some of the sequences are overdone and the narration tires as it progresses, but generally the film is well made. It also possesses a charm that helps it to swing along, and it becomes easy to accept different sequences, given that it is a musical that one is watching. The film will however best be enjoyed by those who are familiar with its redone songs.
  • Woody Allen, one of my absolute favorite film directors, goes against the grain of his normal outings with a very creative cinematic device which involves making a bright, happy musical that takes the course of a normal film starring actors who've never sung before singing with their normal voices in musical numbers with no truly professional dancers. With this vastly fun element of the movie, Allen shows us life if any old person broke out into song. And that is what makes it an even more pleasant and encouraging escape that many other normal musicals.

    One has never before looked at a cast the same way. I wonder what reviews were like. I can say that Alan Alda, who's always fun, has one of the very best voices in the film and even plays the piano. The same goes for Goldie Hawn, who apparently was scared to death of singing in the film. She's also still extremely hot. Julia Roberts plays a very very serious role and never sings, but it was definitely interesting to observe what she and Woody are like on screen together. He carries the scenes, and she loyally follows. Natascha Lyonne is the definite highlight of the cast, playing a hyperconfident girl in that midpoint between girl and woman whose flights of fancy make her extremely fickle with men. Edward Norton, one of the best contemporary actors we have, is actually not at his best in this film. It feels like he just doesn't know how to get comfortable in his role. His voice is OK. Billy Crudup, in a small role, is actually quite unexpectedly funny in a little number in a cab with a Middle Eastern driver. Tim Roth, an unexpected addition to the bit players like Crudup, has a great non- singing role that recalls the genre he's been working in for most of his career.

    Where a lot of musicals repel most people because of their agonizingly featherweight stories, this one does what a great musical is supposed to do, which is lift your spirits and make you feel the very deepest potential of life's beauty that can possibly be pulled out of it, and because of Allen's unorthodox method, it nails it. It's one of my favorite musicals, of which there are few. It's a very interesting ensemble epic that involves all different strands pertaining to the love life and newfound wisdom of each member of a wealthy and happy family.
  • stills-616 September 2000
    High camp and high neuroses in the same picture.

    If you get everything you ever wanted, you still aren't satisfied because your own fantasies can never be truly fulfilled in the real world. It's kind of what Woody Allen is saying by making this movie into a goofy musical. It's his own fantasy of what movies used to be like, but can't ever be anymore. The small touches of realism, like the grocery store heist or the homeless man breaking out into song provide both humor and a commentary on how unsubstantial and irrelevant musicals are. But aren't they fun?

    The most obvious example of the theme is the Julia Roberts storyline. She gets everything she ever wanted, but instead of making her happy in her new life, it helps her therapy for her old life. Joe was married to Steffi, all the woman he ever wanted, but he was so afraid it would fall apart that it did fall apart. Skylar wants a man to take control and sweep her off her feet, but when Charles Ferry comes along and does just that, she can't live with the consequences. There are other examples.

    The execution of the movie is awkward and sometimes off-putting. But this movie is an experiment in form x function - what kind of story lends itself to the musical form? Sometimes it works and sometimes it doesn't. For example, it used to be that musicals helped you into the mood by introducing songs, something that couldn't be done here because of the very nature of the story. It can be stagey and forced if you're not already in the mood. On the whole, however, everyone seems to be having a good time, and it shows up in mostly loose, endearing performances - even the ever-annoying Goldie Hawn, who I'd normally want to toss in the river in any other movie.
  • Warning: Spoilers
    Woody Allen made a musical comedy with some romance in 1996.The movie's called Everyone Says I Love You and it tells about the Dandridge family living in New York.Alan Alda is the father Bob, Goldie Hawn is the mother Steffi, Lukas Haas is the son Scott, the daughters are Laura (Natalie Portman), Lane (Gaby Hoffman), Skylar (Drew Barrymore), stepdaughter D.J (Natasha Lyonne)and Patrick Cranshaw is the grandpa.Allen plays the neurotic ex-husband Joe Berlin, who has no luck in love.He becomes, at least for a while, a man of the dreams for Von(Julia Roberts).Edward Norton plays Holden Spence, who wants to marry Skylar.The happiness breaks for short amount of time, when Skylar is introduced to ex-jailbird Charles Ferry (Tim Roth).The movie goes from N.Y to Venice and Paris.All great places, too bad I've never been to any one of them.All of the actors do terrific job in the movie.The music is wonderful.Not only by the great violin player Itzhak Perlman, who's also seen in the movie, but the actors show us some great skills in singing.This movie has been made like the old musicals were made, where actors would start singing all of the sudden.That's just great, gives the old times' kind of feeling.That's not something you can see in movies these days, but ten years ago Woody brought back that world, that magical world with lovely tunes.I guess you can expect anything from Woody.
  • Aside from a couple of liabilities, which I'll mention a little further down this review, this is top-notch Woody Allen, a work that gives as many delights as his earlier work, but is also marvelous in that it's an experiment for him. How can a filmmaker combine his usual- by 96 usual anyway- with relationships that go up and down, end and start, and neuroses floating around like it's nothing, AND with the escapism of the musicals of the 30s and 40s that Allen obviously adores deeply? Somehow it all works pretty much to classic Allen effect, where there's a level of sharp wit, but there's also that added element of life being wonderful enough even when things seem at their lowest. The story goes into several directions, with a narrator (Natasha Lyonne) filling in the gaps of a family and their turbulent relationships. She D.J. Berlin, biological daughter of Joe (Allen), and technical step-daughter of Bob (Alda) who's married to Steffi (Goldie Hawn), her real mother. He lives in Paris, and on vacation Joe suddenly becomes involved with Von Sidell (Julia Roberts) after getting advice from DJ (she listens to all of her confessions to a psychiatrist through a wall) so he has all of the moves to make it the perfect relationship. Meanwhile, her sister Skylar (Barrymore) is engaged to Holden (Edward Norton), but things become complicated via parolee Charles Fery (Tim Roth). And meanwhile, DJ goes from man to man, almost getting engaged, and then falling for a guy in a Taxi Cab...

    And so on. All the while Allen injects the perfect whimsical tone and sweetness of all of those great, 'un-real' musicals of the Golden Age of Hollywood. Occasionally an actor might sing and not sound too right (aside from Barrymore, whom one can definitely tell a difference, they all sing their songs)- Roberts being one of them- but it's really amazing to see such talented actors have naturally apt ways into singing. And why not, after all, as many of us would love to just go right into a song we like on a dime. Some highlights for me were the Norton songs, "Just You, Just Me" and "My Baby Cares Just For Me", the Tim Roth number "If I Had You", and very surprisingly by a group of the 'un-dead' via D.J.'s grandfather played by Patrick Cranshaw (likely the only time Allen's had this much visual effects going on). And, of course, even Allen breaks into a soft tune of wanting affection too. But it would be just one thing if the songs were very joyful and made the audience happy- there's always, even in the bits that still ring with the realistic dialog of Allen's relationship tragic-comedies- it's also got very funny moments. The moment Roth pops up is one, or when Joe tries to use his 'knowledge' on Roberts's character, and the Marx brothers number is almost *too* good.

    Aside from the oddly voiced narration from Natasha Lyonne (not a bad performance at all, but for some reason the narration sounds just off for me), and a couple of exceptions, Everyone Says I Love You provides for a truly serene time in Woody Allen's ouevere, a collection of old-time numbers (and maybe some new ones) that combine the beauty in the cities we see (New York, Paris, Venice) with a subject that has wonderfully dogged the director for the bulk of his career- what does it mean to fall in love, or to lose love, or to find it again even in the smallest measures- and not without some mixing of politics and neuroses.
  • fmainwood27 September 2005
    This movie just didn't work for me. There is no continuity, and the characters burst into song spasmodically without any lead in. Song and dance scenes often seem contrived, and irrelevant to the situation. With such a strong cast, I settled back to enjoy an experience that never materialised. The storyline is okay, and would have made a good straight comedy, especially considering the great actors in the cast. Perhaps I have missed the point - maybe the haphazard choreography and terrible singing was supposed to be comical in itself. I would suggest renting before buying, just to make sure that it meets your expectations. Unfortunately, it didn't meet mine.
  • Not just any filmmaker should be entrusted with the delicate and precarious genre of the musical. Woody Allen would probably be the last person I'd expect to see work up a musical. He's gotten a lot more experimental in some of his more recent works, so it's of no surprise. I think what makes this film work is in its charm and the love of 30's musicals that is behind it. This really is an ode to the old black and white musicals and to the classic love stories of the same period. Now, on the level of Woody Allen's catalog, this one does not rank very high, but in comparison to television shows that have the occasional musical episode, this one hits its mark. The reason I mention the last comment is because there are some actors in here that never would they be expected to sing in a film. Maybe they shouldn't have, but there is just a lot of love behind this production that you've just gotta smile.
  • stickman-63 January 2000
    This movie has got to be one of the best I've seen. I've seen a lot of movies and a lot of musicals and "Everyone Says I Love You" should go down as a great musical with "Singin' In The Rain" and as a great movie. I thoroughly enjoyed this entertaining, amusing, fun jaunt through musical bliss and the heartache of romance. I recommend this film to everyone!
  • I first rented this movie as a fan of Natalie Portman and Woody Allen. I was thoroughly impressed with the great cast and how they lived up to their reputations by performing magnificently, but felt there were a few too many strange musical numbers, such as one where some kids dressed up for Halloween stop by for candy and begin this bizarre musical number. Maybe I'm not just one of those "Oh, isn't that cute!" people. Also, it was kind of uncalled for to have lotsa deceased spirits dancing around a la "Beetlejuice," which was much better in this case. Anyhoo, the performances are wonderful though I was a little disappointed that Natalie only got to sing two lines and Woody Allen did a great job fitting most of the cast in most of the movie, not leaving anyone out. There are tons of memorable scenes, and I strongly suggest you rent this hilarious movie!
  • Ricardo-826 September 1998
    I enjoyed ESILY. The way it blended traditional Woody Allen comedy/romance (like Annie Hall) with music was superb, and I think that it should go down as one of the great musicals like 'Grease'.
  • Warning: Spoilers
    • but I'm here to complain. I find the film embarrassing. Its slipshod dramaturgy (not foreign to Allen) makes "Meet Me in St. Louis" look like Shakespeare. The voice-over babbles on and on so as to make you think that Woody Allen ought to have written a novel instead.

    The film as such seems like a sorry excuse for the musical numbers which are few and far between. And then, as often with Allen, I feel like having to listen to a guy who goes on and on about his affairs with beautiful women and what a great lover he is. This time he's taking Julia Roberts and Goldie Hawn hostages. I wish I could believe that it's all tongue-in-cheek, but I can't.

    I give it two stars for the music only.
  • I knew I should have resigned myself to the fact that Woody Allen movies (with the exception of 'Mighty Aphrodite') are horridly dull. What an awful movie. I couldn't wait for it to end. I was eager to watch it because of the great cast (Edward Norton, Drew Barrymore) but it was just as terrible as all his other ones, in fact, worse. Dancing and singing ghosts in a funeral home? I'll stick with the Haunted Mansion at Disneyland, thanks.

    And why does Woody Allen always put himself in every movie sleeping with the most beautiful star he can (in this case Julia Roberts?) Not very believable.
  • As fond as I am of Woody Allen, his recent films (to be fair, I have not seen many of them) absolutely drive me up the wall. And none of them has turned me off like _Everyone Says I Love You_.

    It has NOTHING to do with the by-now familiar plaint that "oh, Woody _used to be_ so funny." Rather, I am ashamed to admit it is really all about what another (apparently very conservative) poster typed about this film being all about neurotic, upper-crust New Yorkers and their problems.

    Me = big capital L Liberal. No problem here with being in love with the Big Apple, either. The thing is, I _live_ in New York. But not on the Upper West Side -- I live out in South Brooklyn, where life can be truly bizarre, just like a movie, but in a completely different way from the way things are in Manhattan. Check the dinner scene in _My Favorite Year_ for details. It's an exaggeration ... but not that big an exaggeration!

    Woody began to make me itch and squirm somewhere around the second time I saw _Hannah and Her Sisters_. Clever, yes. Well written and acted, absolutely. But no more something I could remotely relate to than any given episode of "Sex And the City." I fear sometimes that this indicates a limitation in me: that I am unable to stretch as a viewer and identify with characters who are not like me. I don't _think_ this is the case, so what is the problem here? Is it my newly found "class consciousness," my sneaking feeling when I walk through tony neighborhoods in Manhattan in my crummy shoes that I am looked at as "riff-raff" even though I am highly educated, etc? I just don't know!

    What it feels like, to me, is that Woody no longer reaches out to speak to anyone but people exactly like him. That leaves me unable to account for the fact that plenty of other people seem to have found this film entertaining, big time. Me, I found it excruciating. There was one line that made me chuckle -- the Alan Alda character saying "Bring me my will, & an eraser."

    Otherwise, I found it intensely annoying, off-putting, self-consciously clever, shallow, self-satisfied, smug and dull. Which made me very sad.
  • I love Woody Allen and I love musicals. I can't believe how awful I found this movie!

    Allen's dialog has always been so fresh and sharp. I've never heard such weak dialog in a Woody Allen movie. Lukas Haas is a conservative republican vs Alan Alda as the liberal democrat father; the dialog between them was the most obvious. I didn't believe any of the lines from any of the characters.

    Then this idea that the actors should do their own singing. Why? I've heard these songs many times by talented people. Do I really need to hear these songs butchered by the likes of Drew Barrymore (I also am fond of Drew B, but hope never to hear her sing again). Edward Norton is doing a Woody Allen imitation. Oy. None of the musical numbers move the plot forward.

    Why did he decide to make a musical?
  • Ed Norton, Barrymore, Roberts, Hawn, Alda, Portman... what's not to love? Well the boring, plodding, banal and mind numbingly worked story line that is as intricate as a cereal box. How can anyone like this? Did they get awards because of the cast? This proves to me that pretentious nits make a good market for an inane movie a college student could have composed. It reminds me of those self-indulgent "I am melancholy pay attention to my deep thoughts" of the 70s genre, which is how old you have to be to find this mildly entertaining. Woody Allen should just give it up. Then again, people will pretend he has talent because they are suppose to. Kind of like people paid a zillion dollars a ticket to see washed up Streisand in concert.
  • A film only for Woody Allen fans. For those of us not fans, it is a waste of an enormous all star supporting cast. Cute, if you want to hear the singing voices of many of them.

    Natalie Portman fans will be severely dissappointed, she is always in the background.

    Woody plays the typical tragic comic insecure role that he seems to like so much. Its annoying.
  • Warning: Spoilers
    Spoilers herein.

    Woody makes movies the same way he plays jazz, for himself. And what concerns him is metatext and self-awareness. So over the years he has marched through major styles of film -- mostly those which concern a self-aware shift from reality (or some other folding). Then he makes a picture that uses that style and comments on the style at the same time.

    Now he comes to the musical, ripe with possibilities. That's because the musical has two realities already built into it: the `reality' of the story and that of the stage on which the numbers take place. Woody adds a third: the film of them both.

    He sets it up as a recounting by a young girl, a journalism student daughter of a writer. She narrates and is told towards the end to write it up as a film, presumably the one we see. The plot devices all concern the romantic schism among realities.

    It's a more intelligent notion that what we usually see in theaters. Sometimes Woody hits the clever track as with `Annie Hall' and `Sweet and Lowdown.' Sometimes he misses. He misses here (except for the Groucho bit, which is special). To see a much richer mining of the self-referential modern musical, see what friend Branagh did with a Shakespeare comedy (Love's Labour's Lost) after working with Woody on `Celebrity.'

    Odd that people go to these films expecting to be entertained and judge them on that criterion.

    But here's an interesting observation: This film is seen through a redhead's eyes (Natasha Lyonne). And Woody's art director responds. Her half-sister (Drew Barrymore) is made a redhead, so is her mother (Goldie Hawn), her father's love interest (Julia Roberts -- a natural red). Even Woody's hair is tinted red. You'd expect the psychiatrist to be included, and yup, she's red too.

    Ted's evaluation: 2 of 4 -- Has some interesting elements.
  • Woody Allen is one of those film-makers who some people love and others detest. I generally count myself as one of the former, but find this particular movie hard to take. The elements I certainly enjoy are several of the musical numbers (especially those sung by Edward Norton and Alan Alda; the surreal hospital and funeral parlour dances; and the chorus of Groucho Marxes), a few of the gags (especially about Lukas Haas as the right-wing son), the relaxed, professional performances by Alda and Goldie Hawn, and the enchanting views of Venice and Paris. On the other hand, there are some aspects that make the film almost unwatchable; these include the shortage of irony in the treatment of the upper class milieu, the surfeit of trite, unfunny (possibly improvised) dialogue, the dreadful singing by some of the actors, and Woody Allen's embarrassing love scenes with Julia Roberts.

    One major problem is that the film is clearly intended as a hommage to the Marx Brothers, being called after a song from one of their films; and it is set in a plush Upper East Side setting, that cries out for for some Marx-type debunking. But it is hard for the movie to poke fun at these upper crust characters, while requiring them to keep breaking into romantic 30s numbers. Also, who would play the debunker? The answer should be Allen himself, who after all is a comic and an admirer of Groucho; but in this film he's too occupied in playing a romantic lead. The nearest we get to the feel of, say, A Night at the Opera, is for a short period when Tim Roth as a released convict is at a social gathering; but again a romantic song breaks the anarchic, irreverent mood.

    Another glaring flaw is the absence of any proper resolution of the Allen/Roberts liaison, which seems to show a lack of interest by the director in his own movie; he might at least have written a few sharp lines for Roberts to say after he tells her that his apparent fulfilment of all her requirements in a man was a complete sham.

    But when all is said and done, this is only a movie (as Hitchcock said) and a musical comedy at that; so perhaps I should not take it too seriously, and give Woody credit for making a musical at all.
  • In the early '90s, it seemed like Woody Allen's quality was declining as he made more and more movies about neurotic rich New Yorkers. He reached an all time nadir with "Everyone Says I Love You". It was bad enough that he had to imply that the lives, affairs, etc., of rich New Yorkers was interesting to the world; to add insult to injury, he had to make it a musical. The issue is not whether the cast members can do a good job singing; the whole movie makes you feel like you're turning into a piece of jello. In short, he wasted a perfectly good cast (Goldie Hawn, Alan Alda, Drew Barrymore, Lukas Haas, Tim Roth, Edward Norton, Julia Roberts) on the sort of thing that he would normally rip apart as Hollywood garbage. Absolutely toxic.
An error has occured. Please try again.