A director is forced to work with his ex-wife, who left him for the boss of the studio bankrolling his new film. But the night before the first day of shooting, he develops a case of psychosomatic blindness.
Chris Wilton is a former tennis pro, looking to find work as an instructor. He meets Tom Hewett, a well-off pretty boy. Tom's sister Chloe falls in love with Chris but Chris has his eyes on Tom's fiancée, the luscious Nola. Both Chris and Nola know it's wrong but what could be more right than love? Chris tries to juggle both women but at some point, he must choose between them... Written by
When Chris finds Nola in the Tate Modern, Nola's left arm repeatedly changes position between shots. See more »
Christopher "Chris" Wilton:
The man who said "I'd rather be lucky than good" saw deeply into life. People are afraid to face how great a part of life is dependent on luck. It's scary to think so much is out of one's control. There are moments in a match when the ball hits the top of the net, and for a split second, it can either go forward or fall back. With a little luck, it goes forward, and you win. Or maybe it doesn't, and you lose.
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Match Point is a cool, classically elegant and concise film that addresses all of the big questions--love, morality, death, fate, chance--without ever seeming heavy or self-conscious. I've never seen a Woody Allen film to match it. As a matter of fact, I can't remember another film of late that I thought was quite this good. From the opening shot, the film draws you in and doesn't let up, moving from shot to shot with a fine sense of rhythm and a narrative drive that builds the viewer's curiosity through a series of unexpected switchbacks. Rhys-Meyers is superb as an ex- professional tennis player from a poor Irish background who has turned social climber. Too proud to accept a favor from his upper class friends without immediately offering to pay it back, he affects an interest in opera and Strindberg. The viewer at once sympathizes with him and winces as he strains to seem refined and self-assured. Allen has put together a superb cast of young actors who bring his near flawless script to life so convincingly that one almost immediately suspends disbelief and becomes absorbed in the story. The shots of London are luxuriant and spacious, never self-indulgent. Few films, novels, or plays manage to form such rich dramatic material out of characters' inner obstacles. A classic piece of drama that reaches toward the likes of Shakespeare and Dostoevksy, every facet--from structure to dialog to editing to sound--is brought off with panache. This is not only Allen at his best but an example of what the cinematic medium is capable of when properly exploited.
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