Woody Allen’s first actor-director-writer film is a parody criminal biopic/documentary. It doesn’t always hold together, but as a series of skits it is astonishingly hilarious.

Woody Allen’s first actor-director-writer film is a parody criminal biopic/documentary. It doesn’t always hold together, but as a series of skits it is astonishingly hilarious.
I had forgotten this is kind of… bad?
I devour this kind of mumblecore stuff as comfort food, but even for me this one is a tough sell.
I did really like how weirdly meta the premise is — Karpovsky playing a guy named Karpovsky on a film tour for a real movie Karpovsky made.
This capsule review has been superseded by a full-length review you can read here:
The visuals are some of the most breathaking I’ve ever seen: free-flying comic art with intense neon splashes and irrepressible energy. The story is amazing too, if a bit slow to get going. One of the best superhero movies, period.
I love Lizzy Caplan.
A bit too frenetic, and the live action segment sucks the energy out of the story, but the animation is jaw-dropping and the story otherwise buoyant.
It still holds up, hilarious and human. Comedy that actually cares about its characters, themes, and stories. Carell is phenomenal. But the criticisms are right, too: very male-centric, iffy on race and gay jokes, and longer than it needs to be.
Charming leads and goofy-fun premise, but the rest of the story flounders, and the direction distracts from the charm. Way too much Ed Sheeran.
Just watch the Beatles clips on YouTube.
So much better than The Return of Jafar in basically every way, yet completely overwhelmed by Genie’s pop culture-isms