"To Rome With Love": Assembly-Line Woody Allen
The comedy maestro's latest Euro outing is a surreal, tragically lame jumble.
To Rome With Love
Sony Pictures Classics
Woody Allen's new movie, quite frankly, sucks. As is true with too much of Allen's 21st century output, it trudges along as a mash-up of the director's less inspired flights of fancy. If you cobbled together various pieces of used scratch paper from the floor of Woody Allen's office, taped the scraps together with little-to-zero discipline, and tacked on an extra dose of tired surrealism, you'd get something along the lines of To Rome With Love—a sorry little movie that is at its very best playfully self-indulgent, and at its worst hellishly self-indulgent.
I could recap the synopsis for you now, but I'm instead outsourcing most of that work to this guy at LA Weekly. Suffice it to say that the movie takes place in (you guessed it) Rome. Through a ragbag of strained vignettes, the film weaves together disparate tales of infidelity, opera, fame, infidelity, love, more infidelity, disillusionment, and infidelity. The ensemble cast is top-notch, with a disarming blend of sex, smarts, and suave befitting a movie of far greater worth. But because of the overflow of competing plotlines, none of the star players (particularly Ellen Page as a seductive pseduo-intellectual who specializes in the "perversion of the dialectic") get the screen time they're due.