Crimes and Misdemeanors

Crimes and Misdemeanors

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).

1989Rating: PG104 minsUSA
ComedyDrama
Director:
Woody Allen ('Annie Hall', 'Blue Jasmine', 'Midnight in Paris', 'Manhattan')
Writer:
Woody Allen
Cast:
Woody AllenMartin LandauAnjelica HustonClaire BloomAlan AldaMia FarrowJoanna Gleason
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Reviews & comments

Variety

Variety

press

The 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

Time Out

press

Dramatically, 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

The New York Times

press

The 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

Roger Ebert

press

The 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

Variety

press

The 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

Time Out

press

Dramatically, 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

The New York Times

press

The 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

Roger Ebert

press

The 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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