Woody Allen has
nearly created an entire sub-genre of comedy with the consistency that he has
retained many of the same narrative and stylistic choices over the years, even
since his shift from New York to Europe as a regular shooting location. Allen nearly has a
Japanese mentality to filmmaking, seeming to long for consideration as a whole,
as one would do with the work of Yasujiro Ozu, and the breadth of his work
makes this entirely plausible. In theory, this will always make Allen a
filmmaker of incredible significance, though I hardly anticipate upcoming
releases from him with any amount of excitement. Magic in the Moonlight fits perfectly in this filmography;
seemingly effortlessly produced with the fluidity of a well-oiled machine,
though void of any innovation. Allen may be more high-brow than the average
romantic comedy, but he has come to be every bit as predictable.
