Critic Reviews

81

Metascore

Based on 40 critic reviews provided by Metacritic.com
100
A movie that's loving and wistful and often hysterically funny.
100
In a film so ripe with temptations for posturing, exaggeration and satirical overacting, nobody is anything less than natural, unpretentious and funny as hell.
90
In Woody Allen's beguiling and then bedazzling new comedy, nostalgia isn't at all what it used to be - it's smarter, sweeter, fizzier and ever so much funnier.
90
Darius Khondji's cinematography evokes to the hilt the gorgeously inviting Paris of so many people's imaginations (while conveniently ignoring the rest), and the film has the concision and snappy pace of Allen's best work.
90
The best Allen movie in 10 years, or maybe even close to 20 - is all about that idea: Reckoning with the past as a real place, but also worrying about the limits of nostalgia.
88
What's fresh about Midnight in Paris is the way he (Allen) identifies with Gil's idealization of the past, of the Paris that represented art and life at their fullest.
88
Midnight in Paris is not a perfect movie - as in "Julie & Julia" one senses its creator's impatience to leave the bleached-out present for the colorful past. But it is warm and effortless, qualities that make it embraceable.
80
With Midnight in Paris, Allen has lightened up, allowed himself a treat and in the process created a gift for us and him.
80
As in "Purple Rose," the film works best when tweaking the disparate worlds thrown together, though "Midnight" is frothier, and so Wilson shines.
75
Allen has fun in his imaginary French capital, turning his star-studded cast loose to interpret their characters as they wish.
75
The familiar dialogue here makes one long for something closer to the edginess of "Manhattan" or the offbeat humor of "Vicky Cristina Barcelona."
75
But lo! Isn't that Owen Wilson, blond and goyische to the gills, yet faithfully replicating the put-upon slump of the Allen shoulders, the quavering stammers about art vs. success, literature vs. Hollywood?

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