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.
Friendless Peter Klaven goes on a series of man-dates to find a Best Man for his wedding. But when his insta-bond with his new B.F.F. puts a strain on his relationship with his fiancée, can the trio learn to live happily ever after?
John Beckwith and Jeremy Grey, a pair of committed womanizers who sneak into weddings to take advantage of the romantic tinge in the air, find themselves at odds with one another when John meets and falls for Claire Cleary.
Attempting to impress his ideologies on religion, relationships, and the randomness (and worthlessness) of existence, lifelong New York resident Boris Yellnikoff rants to anyone who will listen, including the audience. But when he begrudgingly allows naive Mississippi runaway Melodie St. Ann Celestine to live in his apartment, his reclusive rages give way to an unlikely friendship and Boris begins to mold the impressionable young girl's worldly views to match his own. When it comes to love, "whatever works" is his motto, but his already perplexed life complicates itself further when Melodie's parents eventually track her down. Written by
The Massie Twins
The role of Boris Yellnikoff was original written for Zero Mostel. After Mostel's death in 1977, Woody Allen set the screenplay aside. However, with a potential actor's strike during 2008-9, Allen chose this old screenplay to be his next film. Furthermore Zero Mostel and Larry David both played the role of Max Bialistock. Mostel in the original Producers and David in the play within a show representing the main story arc from season 4 of Curb your Enthusiasm. See more »
Near the beginning of the film, when Boris is talking with his wife Jessica, the position of Jessica's arms keeps changing from shot to shot. See more »
That's not what I'm saying, imbecile. You guys completely misrepresent my ideas, why would I even want to talk with those idiots.
Just calm down.
That's not true, Boris.
No, don't tell me to calm down, I am calm. Just stop.
Don't jump on us just because we don't understand what you're saying.
I didn't jump on you. It's not the idea behind Christianity I'm faulting, or Judaism, or any religion. It's the professionals who've made it into corporate business. There's big money in the ...
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A perfect blend of Woody Allen's views on love and relationships and Larry David's pessimism of life and the imbecilic, Whatever Works won't appeal to those who can't find humor in the morbid recesses and sarcastic ranting of these two comedians' minds, but everyone else will revel in the darkly misanthropic philosophies. Though this perverse fable may wrap up a little too neatly for those less inclined to believe in optimism for such an ensemble of decadent misfits, viewers with the right amount of indifference towards decency won't object, as long as they aren't one of the mindless zombie masses so scathingly scolded in the cynical social commentary.
Attempting to impress his ideologies on religion, relationships, and the randomness (and worthlessness) of existence, lifelong New York resident Boris Yellnikoff (Larry David) rants to anyone who will listen, including the audience. But when he begrudgingly allows naive Mississippi runaway Melodie St. Ann Celestine (Evan Rachel Wood) to live in his apartment, his reclusive rages give way to an unlikely friendship and Boris begins to mold the impressionable young girl's worldly views to match his own. When it comes to love, "whatever works" is his motto, but his already perplexed life complicates itself further when Melodie's parents eventually track her down.
It may be written by Woody Allen, but it certainly feels like Larry David's material. Regardless of who's channeling who, the biting humor in the film is simply hilarious; it's surprising how much fun can be had from watching a character who positively abhors life, people and interaction. Boris may not be relatable, but he's wickedly sarcastic and intelligently despicable. The conclusion may be a bit too tidy to be interpreted as much more than a cynical comedy, but the supporting actors and clever dialogue creates a set of disillusioned protagonists that are easy to watch.
Perhaps the most intriguing aspect is the odd-couple pairing of elderly Yellnikoff and the hopelessly naïve twenty-something Melodie. Extreme differences in age and social standings have been explored in Allen's previous films, but both characters are so delightfully polar opposites that seeing them together is refreshing. They're two runaways on a mission to fulfill the illusion of meaning, one a self-proclaimed genius, the other a foolish, feeble-minded cretin with a heart of gold. Add to that the nonstop sophomoric tirades on religion, sexuality, mortality, marriage, the presidency, racism, human existence, and chess, and you've got an overload of pessimistic insights posing as genius. It may not be a feel good movie, but it's convincingly ridiculous and it absolutely works.
The Massie Twins
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