Manhattan

Manhattan didn't awaken bursts of laughter in me, rather it impressed me with its highly intellectual and sophisticated script, in which, paradoxically, I didn't understand much of the dialogue at all. The plot is neither complicated nor unorthodox, it is simply a story from life. The cast was really perfect, especially Diane Keaton and Mariel Hemingway. I liked the music, which reminded me terribly of the atmosphere of the music clubs and entertainment venues of the first half of the 20th century. A typically conversational Woody Allen, who, although he doesn't wow or burst your diaphragm with laughter, nevertheless captivates and puts a smile on your face. (23/07/2013)

In short, typical Allen. A film seemingly about nothing, and noticeably weaker and less entertaining than the similarly focused Annie Hall, but so good and relaxing to watch nonetheless. A caress to the soul in the form of a charming black-and-white production design, excellent background music, incredibly real and funny dialogues and above all likeable actors. For New Yorkers, this must be very close to the heart. 80% (10/07/2014)

You're happy, you lack nothing, everything is fine. And suddenly someone appears who shows you that you could be even happier and you wonder how you managed to live without them until now. Eventually, a person takes a step in one direction or another, but – something always appears anyway. The purest dose of pure romance, experiences, anti-snobbery, ironically exaggerated conversations about art, and Woody Allen's best performance, scriptwriting, and directing. I recognized myself in so many places, smiled and grew sad. I have seen scenes that seemed to come from my ideas of ideal partnership or my future. And one day, I will find myself completely in Manhattan. (17/10/2005)

Unlike Woody Allen’s best films, Manhattan won’t make you laugh or engage you in a relationship drama. It will, however, warm the cockles of your heart with its relaxed, natural flow, black-and-white aesthetics and fantastic atmosphere of the time and place. And the final dialogue serves as an intelligent conclusion. A jazz-like film. (25/11/2012)

It's not better than the two best Allen films I've seen so far (i.e. Annie Hall and Zelig), but it's still very good. I didn't want to burst out laughing or be particularly moved by Manhattan, whereas the film felt rather very authentic, believable and like (as much as I dislike the phrase, I have to use it again now) real life. And in addition to a number of irresistible dialogues, it contains a beautiful scene in a planetarium and a wonderful declaration of love: "You're like God's answer to Job. He would say: I do a lot of terrible things, but I can still make one of these." I'll give it four and a bit. (24/01/2014)