![]() This has been such a consistent criticism of his work that he parroted it in Stardust Memories, where aliens tell his character that they miss the “early, funny ones.” That was in 1980. I didn’t see Scoop in theaters (no one did), but the general feeling seemed to be that Woody was no longer “back.” Like another New York institution that airs live on Saturday nights, people always seem to think Woody Allen’s films were better back in the day. After spending much of the ’90s on a relative downslide, and the early 2000s making the worst films he would ever make, most everyone was happy to see that he was back at the top of his game. When the film came out, it prompted dozens of articles about Woody’s comeback. When I finally moved to New York City in 2005, the Match Point trailer was playing to regular laughs at the reveal that this erotic, serious thriller was directed by Woody Allen. It was Taxi Driver, Dog Day Afternoon, Do the Right Thing, Rosemary’s Baby, The French Connection, All That Jazz, Bad Lieutenant, Midnight Cowboy, The Godfather, Kids, Klute, Stranger Than Paradise, Requiem for a Dream, Sweet Smell of Success, Little Murders, Shadows and Annie Hall. It was not Central Park, Rockefeller Center and Times Square. When I was a kid, growing up in Ohio, New York City was synonymous with the movies. You can read Matthew Wilder’s piece here. The following is one of two Talkhouse pieces published today about the late-career films of Woody Allen. ![]()
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