Crimes and Misdemeanors
Multi Oscar and BAFTA nominated Woody Allen comedy-drama following two narratives that ultimately converge. An ophthalmologist's (Martin Landau) mistress (Anjelica Huston) threatens to reveal their affair to his wife, while a married documentary filmmaker (Allen) is infatuated by another woman (Mia Farrow).
- Director:
- Woody Allen ('Annie Hall', 'Blue Jasmine', 'Midnight in Paris', 'Manhattan')
- Writer:
- Woody Allen
- Cast:
- Woody AllenMartin LandauAnjelica HustonClaire BloomAlan AldaMia FarrowJoanna Gleason
Reviews & comments
Variety
pressThe structural and stylistic conceit is that when Landau is onscreen, the film is dead serious, even solemn, while Allen's own appearance onscreen signals hilarious satire and priceless one-liners.
Time Out
pressDramatically, the film seldom fulfils its promise, and its pessimistic 'moral' -- that good and evil do not always meet with their just deserts -- looks contrived and hollow. Intriguing and patchily effective, nevertheless.
The New York Times
pressThe movie's secret strength -- its structure, really -- comes from the truth of the dozens and dozens of particular details through which it arrives at its own very hesitant, not especially comforting, very moving generality.
Roger Ebert
pressThe movie generates the best kind of suspense, because it's not about what will happen to people -- it's about what decisions they will reach.
Variety
pressThe structural and stylistic conceit is that when Landau is onscreen, the film is dead serious, even solemn, while Allen's own appearance onscreen signals hilarious satire and priceless one-liners.
Time Out
pressDramatically, the film seldom fulfils its promise, and its pessimistic 'moral' -- that good and evil do not always meet with their just deserts -- looks contrived and hollow. Intriguing and patchily effective, nevertheless.
The New York Times
pressThe movie's secret strength -- its structure, really -- comes from the truth of the dozens and dozens of particular details through which it arrives at its own very hesitant, not especially comforting, very moving generality.
Roger Ebert
pressThe movie generates the best kind of suspense, because it's not about what will happen to people -- it's about what decisions they will reach.
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