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The best Woody Allen movies of all time

From nourishment to nebbishment (and all points in between), we rank the comedian-director’s 45 features

He’s made a movie a year for decades—and we can’t hide our broadest smiles when Woody Allen’s white credits pop up on a black screen and the jazz music kicks in. As for the romantic movies, dramas and comedies that follow? We’ve got opinions. Take a trip through our countdown of the best Woody Allen movies: his ups, his downs, his New York movies, his Academy Award winners, his essential masterpieces.

Best Woody Allen movies: 45–31

45

Scoop (2006)

The worst of Woody’s European jaunts, this one didn’t even receive theatrical distribution in the country in which it’s set: Britain. Woody paired himself with Scarlett Johansson to play, respectively, a magician called the Great Splendini and a journalism student who goes on the trail of a killer. It’s not radical to call it his low point.—Dave Calhoun

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44

Whatever Works (2009)

Larry David’s indifferent shrug on the film’s poster tells you all you need to know about one of the Woodman’s worst. On paper, the combination of David and Allen seems can’t-lose, but only sourness emerged from the real thing. Ingrained with bone-deep misanthropy, it’s hard to imagine this project being any better had the director made it in the 1970s with Zero Mostel, as he originally intended.—Joshua Rothkopf

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43

Cassandra's Dream (2007)

The beginning of the 21st century was a hard time to be a Woody Allen fan. On a losing streak of London-set films, he crossed to the dark side with this thin drama starring Ewan McGregor and Colin Farrell as brothers who agree to do a hit for their uncle to get them out of a tough spot.—Cath Clarke

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42

Anything Else (2003)

Smack-dab in the middle of a halfhearted period for the Woodman, this shrill romantic comedy stumbles mainly in casting: As the manipulative, noncommittal Amanda, Christina Ricci never quite taps into humor. Meanwhile, Jason Biggs turns Allen’s stammering everynebbish into a bland carbon copy. It feels like an American Pie sequel without the pastry.—Joshua Rothkopf

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41

Hollywood Ending (2002)

In what feels more like a padded short story, the director-star plays a formerly great filmmaker reduced to overseeing TV ads. When he’s finally tapped for a big project, the guy suffers an instant, psychosomatic stroke of blindness—yet the show goes on. The movie-set slapstick is tired, as are Allen’s satirical jabs at moneyed showbiz types.—Joshua Rothkopf

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40

A Midsummer Night's Sex Comedy (1982)

The first film of what we can now call Woody’s “Mia Period” didn’t exactly promise great things; it’s a scattered, soufflé-light affair, aping Bergman’s Smiles of a Summer Night without seeming to understand it all that well. Still, it’s refreshing to see Allen in a non-neurotic mood and, within the totality of his career, the film is refreshing.—Joshua Rothkopf

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39

Melinda and Melinda (2004)

Overly schematic, this was the one that had a bunch of brainy playwrights eating at Pastis, batting around a simple scenario, one of them shaping it as a comedy, the other as drama. As the fictional title character, intense Radha Mitchell can’t pull off half of the equation—and it’s hard to say if Winona Ryder, intended to star, would have done it any better.—Joshua Rothkopf

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37

The Curse of the Jade Scorpion (2001)

This ’40s-set screwball comedy came shortly before Woody departed to make films in Europe for several years. It features the director as an insurance investigator who’s unwittingly hypnotized to carry out jewel heists; audiences struggled with the aging Allen putting himself in romantic situations with Charlize Theron.—Dave Calhoun

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36

To Rome with Love (2012)

An extremely patchy patchwork of stories set in modern Rome, this film has tourist Woody meeting his Italian future son-in-law for the first time in the Italian capital. The high point is an opera singer whose talents only emerge in the shower—so he takes the entire cubicle onstage with him, to great acclaim.—Dave Calhoun

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35

Magic in the Moonlight (2014)

A lighthearted romance set in 1920s Germany and France, this is one of Allen’s most charmingly performed efforts. Our hero, Stanley (Colin Firth, amusingly pompous), is a popular stage magician whose task is to debunk a self-proclaimed psychic named Sophie (Emma Stone). Yet try as Stanley might, he’s unable to uncover her trickery, and with each new “miracle” she performs, he falls deeper in love. It’s a simple premise that Allen complicates with an illusionist’s expertise.—Keith Uhlich

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34

Match Point (2005)

Finally, a Woody Allen film to get verklempt about. His prior years had been hard on fans, harder on critics, but he returned to form with this thriller set in the richly appointed drawing rooms, tennis courts and yachts of the English upper class. (Er, who is this Woody guy anyway?) In swapping Manhattan for a slightly more expansive island, the director got closer to his career-long obsessions with Bergmanesque guilt and cosmic absurdity.—Joshua Rothkopf

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33

September (1987)

It’s hard to pick another American director as consistently on fire as Allen was in the ’80s, yet this Bergmanesque domestic drama outfoxed him. Notoriously, he reshot it with a different cast, but the longueurs remained. Regardless, the presence of a majestically rude Elaine Stritch (R.I.P.) goes a long way. It remains Allen’s worst-performing film, but an intriguing one.—Joshua Rothkopf

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32

Shadows and Fog (1991)

One of Woody’s less successful experiments with genre. Shadows and Fog draws on his beloved German Expressionism to create a world of murky morals and shifting allegiances, steeped in Kafkaesque angst. The film is beautiful to look at, but the mismatched cast-—John Malkovich, Jodie Foster, Madonna—and uneven script leave the film feeling awkward and uneasy.—Tom Huddleston

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31

Everyone Says I Love You (1996)

Woody makes a rare foray into the world of musicals, in which actors not known for their soft-shoe or songbird voices (Drew Barrymore, Alan Alda, Edward Norton, the director himself) start dancing and warbling at the drop of a hat. Not as bad as you’d think, but it wouldn’t make anyone’s Allen A-list.—Joshua Rothkopf

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Best Woody Allen movies: 30–21

30

Irrational Man (2015)

Woody's latest philosophical exercise strikes a balance between the darkness of Cassandra's Dream and the jazzy frivolousness of just about every film he's made since. The story of an unmoored professor (Joaquin Phoenix) who arrives at a Rhode Island university for a new gig and promptly sleeps with Parker Posey, seduces Emma Stone and makes a killing, Irrational Man goes down pretty easy for a movie about the morality of murder.—David Ehrlich

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29

Small Time Crooks (2000)

Time to exercise those muscles of compartmentalization: Half of this lunkhead crime comedy aches with obviousness, especially the overfamiliar plot (digging a tunnel under a nearby bank). But the other half is killer: two magnificent female turns, one from Tracey Ullman as a nouveau riche social climber, the other from Elaine May, raising pitch-perfect dumbness to high art.—Joshua Rothkopf

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28

Midnight in Paris (2011)

In the film that earned Woody a late-career box-office hit, Owen Wilson vacations in Paris with his fiancée (Rachel McAdams) and her parents; over several nights, he accidentally travels back to the 1920s. It’s easily the best of Woody’s European travelogue comedies, and the fantasy element offers flashes of the director’s earlier boldness.—Dave Calhoun

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27

Celebrity (1998)

Inexplicably selected to open that year’s New York Film Festival, this wan, frequently tedious portrait of those on fame’s margins features a performance by Kenneth Branagh that’s probably the most irritating Woody impression ever committed to film or video. Then again, Leonardo DiCaprio makes the movie essential and revealing as a hotel-trashing bad boy (i.e., Leo in his Pussy Posse days).—Joshua Rothkopf

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26

Bananas (1971)

A peppy Marvin Hamlisch score propels this early gutbuster, which finds the Woodman leading a revolution in an unnamed South American country. For the record, that’s actually Howard Cosell as Howard Cosell in the sports-commentary parody of an intro—not Jon Voight or John Turturro or whoever’s played him onscreen since.—Joshua Rothkopf

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25

Manhattan Murder Mystery (1993)

Allen reunited with Diane Keaton for the first time since the advent (and departure) of Mia for this trifle, which was reworked from material cut from Annie Hall. Woody can make delightful NYC comedies in his sleep, and even if less charitable viewers would say that’s exactly what he did, there’s still a ton of great zingers here, as well as a bumbling sense of Upper West Siders getting in over their heads.—Joshua Rothkopf

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24

Alice (1990)

A loose remake of Federico Fellini’s Juliet of the Spirits (1965), Allen’s romantic fantasy provides an exceptional showcase for Mia Farrow as an upper-class New York housewife whose placid existence is upended after she’s put under hypnosis. A single-take sequence where she confesses her feelings for costar Joe Mantegna is a comic-acting master class.—Keith Uhlich

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23

What's Up, Tiger Lily? (1966)

It’s not entirely accurate to say that Woody “directed” this spoof, since it’s actually a Japanese spy flick (Key of Keys) with ridiculous overdubbed dialogue courtesy of the funnyman and his pals. Inspired and sophomoric by turns—the plot turns on a hunt for the world’s greatest egg-salad recipe—it’s the bastard step-parent of MST3K.—Joshua Rothkopf

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22

Take the Money and Run (1969)

Woody’s first major comedy is full of important lessons for the beginner criminal: When breaking out of prison during a rainstorm, don’t use a gun carved out of soap. Make sure that another gang isn’t going to rob the same bank, on the same day and at the same time. And for Pete’s sake, check your spelling! (“I am holding a gub on you.”)—Joshua Rothkopf

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21

Radio Days (1987)

The Woodman’s nostalgic tribute to the home entertainment medium of his childhood consists almost entirely of self-contained anecdotes, ranging from the hilariously irreverent (“You speak the truth, my faithful Indian companion,” says the young hero to his rabbi) to the somberly poignant (the nation awaits the fate of a child trapped in a well).—Joshua Rothkopf

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Best Woody Allen movies: 20–11

19

Mighty Aphrodite (1995)

Truthfully, the Greek chorus gets unfunny pretty fast. But Mira Sorvino’s sweet ding-a-ling prostitute proves that Allen is a giant when it comes to directing women. In a subtle way, this comedy comments wisely about the unfixable nature of people; the plot brings us closer to being okay with exactly who we are.—Joshua Rothkopf

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18

Vicky Cristina Barcelona (2008)

Just when Allen fans were about to give up the ghost, along came his best film in a decade. On paper, it reads like one of the director’s ickier old-man fantasies: the story of two young American women in Europe (Rebecca Hall and Scarlett Johansson) seduced by an artist (Javier Bardem) with a crazy ex-wife (Penélope Cruz). But there are flashes of the old genius in this throwaway but enjoyable comedy.—Cath Clarke

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17

Sleeper (1973)

Perhaps the finest of Woody’s “early, funny” pictures, Sleeper finds his standard nebbish cryogenically awakened in the year 2173, when he discovers the Orgasmatron and various other sci-fi gags. Per usual, Allen employs a jazzy soundtrack, though he opts for Dixielandish tunes over Gershwin ditties this time.—Joshua Rothkopf

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16

Stardust Memories (1980)

Following directly in the wake of effervescent Manhattan, Allen’s agonized existential-crisis comedy—something of a public meltdown—was destined to turn off part of his audience. But the movie has since found a footing among Woody’s best, not merely as a smart riff on Federico Fellini’s director-as-hero 8½, but as a piece of self-referential hilarity in its own right.—Joshua Rothkopf

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15

Interiors (1978)

Sandwiched in time between Annie Hall and Manhattan, this was the film with which Woody declared his love for Ingmar Bergman. Wintry, quiet and restrained, with not a hint of a gag (or Woody himself) in sight, it tells of three grown-up sisters who find themselves in a tailspin when their parents unexpectedly announce their divorce.—Dave Calhoun

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14

Deconstructing Harry (1997)

After years of playing put-upon nice guys, Allen shocked audiences with his portrait of the artist as a resentful, self-loathing creep with a foul mouth and a penchant for prostitutes. Coming in the wake of his brutal public separation from Mia Farrow, this is Woody at his most savage, satirical and self-mocking. A bruising, brilliant film.—Tom Huddleston

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13

Another Woman (1988)

Further proof that some of Woody’s finest films are those that drop the kvetching men to explore troubled women (see Interiors, Blue Jasmine). This one gives Gena Rowlands a plum role as a feted academic who only realizes that she’s behaved terribly to others when she accidentally overhears a woman (Mia Farrow) talking to her therapist through the walls of her home office.—Dave Calhoun

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12

Bullets Over Broadway (1994)

“I’m an artist!” shouts John Cusack in the movie’s first line, and over the course of the next riotous 98 minutes, we learn, decidedly, he is not. Allen’s Jazz Age backstage comedy is animated by a trio of inspired creations: Jennifer Tilly’s ditsy gun moll turned theatrical terror; Dianne Wiest’s imperious diva (“Don’t speak!”); and Chazz Palminteri’s gangster poet, hiding the true gift.—Joshua Rothkopf

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11

Love and Death (1975)

Russian literature takes it in the keister in Allen’s gut-busting satire, in which he plays a coward forced to enlist in the Russian army who also wants to marry his cousin twice removed (Diane Keaton). There’s barely a lull in the laughter, and nothing beats Allen’s internal monologue about wheat.—Keith Uhlich

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Best Woody Allen movies: 10–1

10

Blue Jasmine (2013)

Would Blue Jasmine be half as good a film with another actor playing Jasmine, the self-destructive society wife living a champagne lifestyle on lemonade money after her husband is sent to prison? Perhaps not, but Woody Allen lucked out with Cate Blanchett, who gives a brilliant, Oscar-winning, career-best performance.—Cath Clarke

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9

Zelig (1983)

Allen stars in this expertly executed mockumentary as Leonard Zelig, a nondescript man with chameleonic powers who shows up in the darnedest places throughout the ’20s and ’30s. He’s a proto–Forrest Gump, rubbing shoulders with everyone from Fanny Brice to Adolf Hitler, and catching the romantic eye of Mia Farrow’s doting psychologist.—Keith Uhlich

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8

Sweet and Lowdown (1999)

Off-kilter talents have often found voice in Woody’s work, and the pairing of Sean Penn and a barely known Samantha Morton as, respectively, a 1930s jazz musician and his mute girlfriend is especially winning. The film deals lovingly with the tunes of the period (especially those of gypsy guitarist Django Reinhardt, an Allen favorite), and the faux-doc interview inserts give it a unique touch.—Dave Calhoun

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7

Purple Rose of Cairo (1985)

Woody’s at his most optimistic and up-with-people with this fantasy of a downtrodden Depression-era housewife (Mia Farrow) whose world comes alive when the pith-helmeted hero of her favorite movie (Jeff Daniels) steps down from the screen and sweeps her off her feet. The result is both a giddy celebration and a quietly crafty investigation into the effect cinema can have on its audience.—Tom Huddleston

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6

Broadway Danny Rose (1984)

A bunch of hardworking comedians kibitz over coffee at the Carnegie Deli. From their reminiscences emerges a wonderful (fictional) tale, about scrappy talent manager Danny Rose (Allen) and his fiercely loyal slate of also-rans. A loving tribute to old-school New York moxie, the film also contains Mia Farrow’s brassy Italian ballbuster, a wild transformation you’ll never forget.—Joshua Rothkopf

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5

Husbands and Wives (1992)

This caustic comedy revolves around the romantic tribulations of two married couples played by Allen and Mia Farrow, and Sydney Pollack and Judy Davis. It’s a trenchant examination of long-term relationships on the downswing, something that the real-world tensions surrounding the production (the film was shot around the time of the Soon-Yi Previn scandal) only heighten.—Keith Uhlich

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4

Manhattan (1979)

Greatest opening in cinema history? Gordon Willis’s glittering monochrome camerawork combines with Gershwin’s glorious glissandos and Woody’s scalpel-sharp self-mockery to create the ultimate hymn to a city, a sensation, a whole way of life. The remainder of the movie covers familiar ground—romance, self-doubt, intellectualism, despair—with Woody’s customary intelligence and insight.—Tom Huddleston

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3

Hannah and Her Sisters (1986)

Here are Allen’s most exquisite performances: nuanced, perfectly balanced, lovably neurotic. There’s not a weak link in the cast, and while it’s a shame to single out an essential performance, it has to be Dianne Wiest’s unsettled Holly, the kind of desperate, flailing Manhattanite that future director-writers would spin entire careers out of.—Joshua Rothkopf

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2

Crimes and Misdemeanors (1989)

The film in which Woody’s comic and serious sides most comfortably align, this one tells of two barely connected characters, an eye doctor (Martin Landau) and a filmmaker (Allen), each with intricately messy private lives. Landau handles the doctor’s rising guilt and claustrophobia especially well, while the whole enterprise is entertaining, thoughtful, morally inquiring and hits just the right level of amusing.—Dave Calhoun

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1

Annie Hall (1977)

Woody Allen famously wanted to call it Anhedonia, the clinical inability to experience happiness—funny for a film that gives us so much pleasure. This best and best-loved of Woody’s movies is the anatomy of a breakup, beginning at the end of New York comedian Alvy Singer’s relationship with Annie (Diane Keaton, in an iconic turn). It’s packed with gags, and yet there is a painful message at its heart: that meeting your soulmate doesn’t always guarantee a happy ending.—Cath Clarke

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Comments

34 comments
John M
John M

Woody Allen exhibits lapses of taste and good judgement. Why else would he have appeared with Bette Midler in "Scenes From a Mall"?

John H
John H

Nothing made me laugh more in the 1970s than 'Sleeper'. 'Love and Death' was nearly as good. 'Take the Money and Run' and 'Bananas' are both excellent as well, definitely better than 'Everything You ...', most of its sketches are either much too long for the gag or are just not very funny. And then with 'Annie Hall' the comedy started to drop off, as Woody matured but unfortunately began to take himself too seriously and regard his milieu too seriously and too respectfully. Among the non-comedies I was put off by the shallow self-satisfaction of many of them but not by 'Interiors', which was very thoughtful though too flatly morose.

Alex S
Alex S

Some good choices, and many bad ones. Nice to see "Sweet And Lowdown" up there, and although I'd disagree with the order of the top 20, most of the key films are covered.

"Annie Hall" as #1 is merely a canonical choice, and not necessarily a wise. Sure, it's a really excellent depiction of human relationships, and especially of human manipulation -- for Alvy Singer IS the film's de facto 'bad guy,' and Annie much better off without him -- but "Manhattan" covers the same bases, and more deeply, while being an even richer excoriation of the film's protagonist.

Yet even "Manhattan" is limited. I mean, compared with a film like "Crimes And Misdemeanors," which is one of the 3 or 4 best depictions of human evil in all of art, or "Stardust Memories," which is a deep meditation on art, fatalism, luck, human patterning... there's not much of a comparison, really.

"Cassandra's Dream" and "Match Point" ought to be way higher. Even if they're lesser re-treads of "Crimes," they're still extremely well-executed, compared to most films of their genre, and manage to depict evil from a different, albeit lesser, intellectual angle vis-a-vis "Crimes."

Same with "Celebrity" -- a really good film, unfairly maligned due to Kenneth Branagh. Yet Branagh is not really doing a 'bad Woody impersonation,' but things that Woody, himself, would NEVER be able to do. There are a # of excellent flirting scenes, within, involving Winona Ryder, that'd merely devolve to comedy from Woody's presence. By contrast, Branagh is more realistic, and definitely seems like the sort of guy who'd try his hand at a lifestyle he really CANNOT handle.

I'd put "Stardust Memories," "Hannah And Her Sisters," "Another Woman," "Crimes," and "Interiors" somewhere on top. Here's my own top 10 list, as well as some in-depth reasons:

http://alexsheremet.com/woody-allens-top-10-films-analyzed-explained/

Ben C
Ben C

This list is backwards in many ways.  Broadway Danny Rose is soul-deadening.  Just what am I supposed to find amusing or enlightening about that junk?  That's why worst Woody Allen film.  Sweet & Lowdown just has no remarkable qualities.  I like the bold choice of making Crimes & Misdemeanors #2, though I wouldn't put it quite that high.  And Zelig and Purple Rose of Cairo were vapid gimmicks. Annie Hall just doesn't stand the test of time the way Manhattan does, though Manhattan, while boasting the best dialog, is marred by some bad acting from Michael Murphy and that awful Gershwin soundtrack my wife incisively called "Leave It to Beaver on steroids."

Here is my list.

1.  Husbands & Wives

2.  Midsummer Night's Sex Comedy

3.  Manhattan Murder Mystery

4.  Sleeper

5. Crimes & Misdemeanors

6.  Manhattan

7.  Another Woman 

8. Vicky Cristina Barcelona

9.  Love & Death

10.  Annie Hall

11. Midnight in Paris

12. Cassandra's Dream

13. You Will Meet a Tall Dark Stranger

14. Deconstructing Harry

15. Curse of the Jade Scorpion

16. Hannah & Her Sisters

17. Melinda & Melinda

WORST FILMS

Broadway Danny Rose

Stardust Memories

Zelig

Alice

Shadows & Fog

Hollywood Ending

Edward C
Edward C

this list is almost completely backwards, in my opinion. not that it really matters. i'll probably never watch one of his films again. i can't enjoy them knowing what i do about his personal life.

Alan Smithee
Alan Smithee

This page just about ruined my day.  I realize this is a highly subjective matter but we're treading on sacred ground here.  After reading this article and the comments, I'm feeling kind of like a devout Muslim forced peruse a sexy "12 Months of Muhammad" calendar.  Praise be to you, O blessed trinity of Allen, Coens and Kubrick.  Forgive them for they know not what they do.

Cayo H
Cayo H

Magic in the Moonlight will be in the bottom half of the list when this is revised.....but I still give almost every Woody film a look.....I dread the day when there won't be one each year.....

nubwaxer
nubwaxer

all i can remember is some kind of really lame word play i found offensive.  it's something along the lines that if someone says for example "did you . . . " woody's character pressures his friend to agree that he heard "did jew . . . " or something like that. 

actually when i saw number 43 i remembered that is was not entirely a waste of time to sit through it.  the rest of the list?  if i can't think of one outstanding film nby the director without going through the list then i don't have much interest here.

oh wait, zelig was interesting but hardly memorable.

Gaurav K
Gaurav K

Without getting into the painfully repeated thing about hundreds of dubious ratings online, just my personal favorites:

1. Broadway Danny Rose (A true masterpiece, criminally underrated)

2. Sweet and Lowdown (until Uma Thurman's poorly written character showed up and ruined the last 20 odd minutes)

3. Stardust Memories

4. Zelig

5. Deconstructing Harry

Hugo Emanuel M
Hugo Emanuel M

It's an informative list because it lists all of Allen's films but the rating is very dubious. I know everyone has a different opinion but frankly I can't understand how can to Rome with Love is rated higher than Match Point  or how Anything Else and Melinda and Melinda stands above Whatever Works. My personal Woody Allen favorites are Crimes and Misdemenours, Deconstructing Harry (sadly underrated), Sleeper, Manhattan, Husbands and Wives, Bullets over Broadway and Match Point. 

Robert L
Robert L

They are all works of genius and deserve serious study. You're witnessing the tortuous path of spiritual evolution of a lost yet educated Jewish atheist in our age, within a background of sardonic humor.

Stephen S
Stephen S

@Robert L 

Cassandra's Dream a work of genius? Don't be ridiculous, it's absolutely appalling

Stephen S
Stephen S

@Robert L @Ben C 

Relax guys, Woody doesn't even know who you are. He wouldn't expect such a trenchant defense of one of the worst screenplays he's ever written. He'd most probably hope you'd be fine with it. He might wish, also, that you'd appreciate the good ones without the need to take ownership of, and defend, his life's work in some vainglorious bid to connect with him in a slightly worrying way...

Shaz K
Shaz K

There are so many on this list that I didn't even know existed. I wish someone would release a giant Woody Allen films boxset!

anders n
anders n

They Forgot "Play It Again, Sam" which is an essential early comedy (1972)


Akash V
Akash V

Blue Jasmine being #10 is absurd. It wasn't that good. And for Gods sake, Annie Hall is not that good. His best films are-

Hannah and her Sisters, Crimes and Misdemeanors and Manhattan. Broadway danny Rose was fantastic as well. Deconstructing Harry, probably his most underrated film, deserves a top 10 spot.

Mark E
Mark E

I like almost every Woody film, but I'd say only about 15-20 of them are essential.  Your top 20 has 15 of my top 20.  So that's pretty good!


Bullets Over Broadway and Zelig are almost unwatchable, if you ask me.  Sleeper, Stardust Memories and Another Woman are fine, but not in my top 20.  We agree on the rest!

Scott F
Scott F

"Blue Jasmine" in the Top 10? Please. The film might as well take place in Moscow -- Woody has no feel for the rhythms or culture of San Francisco. It's another New York film, filled with New Yorkers, just happens to take place in San Francisco. Maybe his most overrated film.

I'll take "Crimes and Misdemeanors" at No. 1. And "Love and Death" belongs in the top 10.

Cristobal F
Cristobal F

@Scott F So, a movie is only good if it thoroughly captures the "vibe" of the locale???  It just so happens that San Fransisco sucks.  I don't want to see anything about it on film.  Thank God it shows New Yorkers in San Francisco.  And after all, in real life many NYers are trapped in that stinkhole.  Their stories should be told.

Scott F
Scott F

@Cristobal F A movie that is about a locale should be true to that locale.

" It just so happens that San Fransisco sucks.  I don't want to see anything about it on film."

Ah, I see. You're an idiot.

will d
will d

This list has the same weight to it as Time Outs "Where to get the best Slice".  It's all subjective, and a ridiculous idea for a feature or whatever this is supposed to be.  Grade F Time Out.  

Chris M
Chris M

Blue Jasmine was not very good. It absolutely CANNOT be in the top 10 woody allen films.

David B
David B

The transcriber must have mistakenly switched positions for the thoughtful and thoroughly watchable #38 Match Point (2005) and the excruciatingly bad #8 Sweet and Lowdown (1999)...right? My pick for writer-director Allen's most wildly over-rated movie has to be #6 Broadway Danny Rose (1984). Everyone in it appears to be trying so hard to be funny, but there isn't an honest laugh in sight. Otherwise, I would largely agree with this list. Fun.

RJ M
RJ M

no Play it again, Sam?

David B
David B

@RJ M Yes, I would have placed Play It Again, Sam (1972) fairly high on this list but it can't be considered a "Woody Allen movie" since it was not directed by him. It was directed by Herbert Ross.

Montse B
Montse B

Vicky, Christina, Barcelona is not only his worst film by far, but possibly one of the lamest I have ever see in my life. 

Robert L
Robert L

@Montse B You just don't get it! It's the story of millions of American tourist girls and how they get fucked by European sophisticates during their "vacation", be it from college, their boyfriend, or their husband.

Stephen S
Stephen S

@Robert L

You have serious issues, Bro AND you like every Woody Allen film ever made