Intcatinfo A Masterpiece!

Roy Hart If you're interested in the topic at hand, you should just watch it and judge yourself because the reviews have gone very biased by people that didn't even watch it and just hate (or love) the creator. I liked it, it was well written, narrated, and directed and it was about a topic that interests me.

Mehdi Hoffman There's a more than satisfactory amount of boom-boom in the movie's trim running time.

Catherina If you're interested in the topic at hand, you should just watch it and judge yourself because the reviews have gone very biased by people that didn't even watch it and just hate (or love) the creator. I liked it, it was well written, narrated, and directed and it was about a topic that interests me.

estebangonzalez10 "Of all human weaknesses, obsession is the most dangerous, and the silliest!"When you direct and write a film every year you can't expect to always deliver a masterpiece, and that is the case with Woody Allen's Mighty Aphrodite. It's a delightful and enjoyable film, but it doesn't seem to add up to much. When you compare it to his extensive filmography it wouldn't even land in the top half of his best work because it's far from being memorable. He's directed so many movies that several of them feel incredibly familiar and for that reason they are easy to forget. He repeats several of the same themes throughout his movies and Mighty Aphrodite isn't the exception, especially putting a lot of emphasis on love and infidelity which are recurring themes in Allen's films. At times his films stand out for simply capturing these human emotions in a new way, and at others they do thanks to a particularly strong performance. In this case it was Mira Sorvino's supportive performance as Linda Ash that garnered all the attention playing a hooker who isn't all that right in the head. The way she delivered her lines with her high-pitched voice contributed to the overall comedy of her character. If there is one thing that I will remember from this forgettable Allen film it's her Oscar winning performance. Despite her solid performance this is still one of the weakest Woody Allen movies I've seen.In Mighty Aphrodite Woody Allen plays Lenny, a sportswriter, who is married to Amanda (Helena Bonham Carter). In order to spark some life into their monotonous relationship they decide to adopt a son who they name Max. After several years Lenny is surprised to discover that Max is such a brilliant kid and so he decides to search for his biological parents convinced that they must have great genes. He visits the adoption agency and is denied the files, but his curiosity gets the best of him and he finds a way to steal them. He tracks down the biological mother only to discover that she is a prostitute who is now going by the name of Linda Ash (Mira Sorvino). Lenny sets up an appointment with her and is disappointed that she ended up being so dumb. Concerned with her lifestyle, Lenny tries to help Linda by reforming her and setting her up with some respectable man. Meanwhile, Lenny and Amanda are going through some marital problems of their own. The narrative is linked with a bizarre Greek chorus (led by F. Murray Abraham) that compares Lenny's story with the Greek tragedy Oedipus.Allen always delivers some witty dialogues and funny situations in his films which make them such an entertaining ride. Mighty Aphrodite has a few moments like this that work well, but as a whole it is a very forgettable movie. Allen plays once again a sort of neurotic character who is fascinated with discovering who his adopted son's mother really is. Sorvino's performance is brilliant and elevates the material, but there isn't more to it. Neither Allen nor Bonham Carter seem to stand out and their relationship isn't central to the film. The Greek chorus was far from interesting and only took away from the story by trying to hard to compare the modern tale with the Greek one. It's a light and corny film that is saved by Sorvino's presence and Allen's distinctive style of humor. http://estebueno10.blogspot.com/

OJT I really live some of Woody Allen's films, which are laugh out funny, or great. Others I really don't like. They are talkative, and boring if you're not in the mood.Mighty Aphrodite is a mixed blessing. The best are just great, but I'm afraid to say I think the film sometimes loses grip. It's a typical Allen film, with the annoyingly talkative Allen interrupting the women in his life, and this has a drive that many loves.I've got a trouble with the start, which is dull. The Greek choir in the beginning feels quasi cultural, and too often it takes over. Then the film loses momentum, even if there sometimes are funny parts. The plot is good, and Mira Sorvino went away with an Oscar for her role as the hooker. Some scenes are hilarious, and Allen at his bestI'll end the review with one of the great lines from the film, from Linda Ash: - You didn't want a blow job, so the least thing I could do was buying you a tie!If you want to check out Allen's best, they are "Loved and death", "Small time crooks", "Annie Hall" and "Match point".

jzappa Woody is a realistic idealist, because to persist making contemplative films is to assert how buoyant you actually are. His buoyancy is not to be associated with that articulated by his more hopeful characters. The average rubrics of idealism and cynicism offer fertile readings of several of his later films. How best to support such analyses? The views to be favored are those that fall back neither on some proclamation of, or biographical facts about, the creator, nor to the partialities of the interpreter. Allen's work helps us sidestep both of these moves: the biographical myth and the reading of a connotation into the content instead of interpreting what it might have to say, because he presents the alternatives of optimism and pessimism in dramatic rather than discursive ways. This enables him to be detached from positions held in the material, clear in his practice of the drama of knowledge shared by the audience but not by all of the characters. It makes the assertion that getting on with one's life is a remedy for pessimism. Thus realistic idealism: It's worthwhile to carry on.This modern playing-up of Pygmalion divulges its solemn undercurrents, with observations by the Greek chorus, which periodically bursts into song and dance, while in unison developing a plot that lends itself to farce, Woody playing a sportswriter who's initially opposed to adopting a kid despite his career-driven wife Helena Bonham Carter being unable to get pregnant for the sake of her job, yet she has her way and they adopt a boy they call Max. As Max gets older, it becomes clear he's exceedingly gifted, and Woody becomes preoccupied with learning the identity of Max's biological mother. After some tense scenes of farcical suspense, Lenny finally locates Max's mother, Linda, call girl and part-time porn actress. Lenny, never disclosing his real reason for seeking out Linda, swiftly becomes her friend and counselor, and sets about finding a nice guy for her to marry. Lenny recommends a young boxer he knows, a potato farmer from upstate, who is a good kid but not very smart.Although the increasingly colloquial Greek chorus might sound like a cumbersome adjunct to a Woody Allen comedy about contemporary Manhattan neurotics, it truly works properly. Chorus members including F. Murray Abraham, Olympia Dukakis and David Ogden Stiers make urgent notes of the choices Lenny is making, and their peculiar counterpoint helps Allen pull off some of the more clearly perfunctory plot developments. By the end of the movie, when the deus ex machina arrives from the sky in a helicopter, it feels like an stimulation rather than what it is, an expedient plot device.As Linda, then 29-year-old Mira Sorvino's voice is heavy Brooklyn lightened by helium and thus made comic, which mitigates the explicit casual vulgarity of her lexicon, making it seemingly naïve. Her Oscar win has apparently been subject to the same "come-on's" and "gimme-a-break's" as Marisa Tomei's for My Cousin Vinny, perhaps because young bimbo roles, including those of Brooklyn spitfires, are often so two-dimensional, they're all taken for granted as precisely that. But known for being remarkably dignified and eloquent, Sorvino goes way outside the hooker-with-a-heart-of-gold peripherals of the part in developing a genuinely sensitive and charming character.Through events that I won't divulge, Woody brings us to an addendum set a few years later, when Lenny and Linda meet again, and there is a bittersweet development in both of their lives, although each of them is conscious of only half of it. The movie's closing scene is calmly, pleasingly poignant, and the whole movie avoids the snags of pessimism and becomes something the Greeks could never completely handle, an impending tragedy with a hopeful ending.Feels like Woody's just treading water here, but even when it becomes unquestionably frivolous, Mighty Aphrodite remains an attractively made, swift, lighthearted dessert that transpires as pleasant mid-range Woody. He's best known for this spirit of romantic comedy, having transitioned from broad screwball to more storied and romantic films. Mighty Aphrodite, during his freshly post-Farrow period of varied sorts of works, is generally inclined at a gratifying and more or less reliable reading.

LeaBlacks_Balls Sportswriter Lenny Weinrib (Allen) and his wife (Bonham-Carter) adopt a baby from an anonymous mother. After a few years pass, Lenny starts to wonder about the woman. Curiosity quickly gets the better of him, so he steals files from the adoption agency and sets out to find her. Lenny is dismayed, maybe even terrified, to find that Linda (Sorvino,) the mother, is a beautiful $200-an-hour prostitute. So that he can fashion the proper mother-son reunion and save himself from what fate seems to have in store, he determines to 'reform' Linda. Interwoven throughout the story is a Greek chorus (including F. Murray Abraham and Olympia Dukakis,) who add their own unique take on the proceedings.I've always preferred Woody Allen's comedies over his dramas. This one is probably one of my favorites. This film is a great example of Woody Allen showing no interest in convincing his audience into swallowing down some serious morals. It's light, fluffy, shamelessly sentimental and does not suffer a bit because of it. The plot is generally an uplifting tale of changing ones life for the better, and intertwined with this is some of Woody Allen's best humor. There are many entertaining characters, especially Mira Sorvino's prostitute and Michael Rapaport's dim-witted boxer, Kevin.The stand-out here is Mira Sorvino. She is absolutely enthralling, with her ditsy nature and confidence masking a timid vulnerability, all of which earned her a well deserved Oscar. Linda could have been an over the top, cartoonish character, Pygmalion on crack. But under the careful direction of Allen, Sorvino gives the best performance of her career so far, and one of the funniest performances ever.