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7,1/10
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Surpreendentemente, um divorciado de meia-idade da cidade de Nova York começa um relacionamento com uma garota muito mais jovem e menos sofisticada.Surpreendentemente, um divorciado de meia-idade da cidade de Nova York começa um relacionamento com uma garota muito mais jovem e menos sofisticada.Surpreendentemente, um divorciado de meia-idade da cidade de Nova York começa um relacionamento com uma garota muito mais jovem e menos sofisticada.
- Prêmios
- 2 vitórias e 1 indicação
Willa Cuthrell-Tuttleman
- Chess Girl
- (as Willa Cuthrell Tuttleman)
Enredo
Você sabia?
- CuriosidadesWoody Allen claims that he cast Larry David because David is one of the few comedians that makes him laugh.
- Erros de gravaçãoHenry Cavill plays the character Randy, a British actor. No Brit would ever be called Randy because in the UK the word randy is the equivalent of horny in US English.
- Citações
Boris Yellnikoff: That's why I can't say enough times, whatever love you can get and give, whatever happiness you can filch or provide, every temporary measure of grace, whatever works.
- ConexõesFeatured in The 81st Annual Academy Awards (2009)
- Trilhas sonorasHello I Must Be Going
From the Original Soundtrack Os Galhofeiros (1930)
Written by Bert Kalmar (as Bert Kalmer) & Harry Ruby
Performed by Groucho Marx and Cast
Courtesy of Universal Studios
Avaliação em destaque
"I'm not a likable guy..."
Woody Allen's alter ego, Boris (a bitterly good and sardonic Larry David) makes this statement to the audience rather early on in "Whatever Works". The truth is, no matter how misanthropic, sarcastic and neurotic Woody Allen is, he ultimately is a pretty likable personality...if you like that type. Allen's return to Manhattan after three stays in London and a wonderful stop-over in Barcelona is yet another niche film. Fans of Allen, as well as fans of Larry David's "Seinfeld" and "Curb Your Enthusiasm" (which not so ironically should be the same folks) will find plenty to laugh at here, while others will inevitability whine, "I don't care for Woody Allen...and oh, that Larry David! Can't stand him!"
The plot of "Whatever Works" is irrelevant. Boris is some sort of genius-level physicist trying to speed his way to death, though those metaphors are never explored as poignantly as they should be. It all just serves as a soap-box for Allen (through David) to funnel his usual dialogues about relationships, love, luck and the meaning of life. It's all very broad and obvious this time around, but it's sometimes nice to still be laughing at the same old feel-good shtick. It should come as no surprise that Boris also tells the audience this isn't a movie designed to make you feel good, unless you're Allen fans, and then you'll feel pretty swell afterward. Leave it to Allen to infer moviegoers are inherently morons, but we're sophisticates for watching his films.
Apparently this is a re-worked screenplay from the 1970's and the "Annie Hall" style monologues to the audience are evidence of that. In the jokes department you'll find old standards mocking the French and suggesting kids should attend "concentration camps" for the summer mixed with modern humor about the Taliban and Viagra. There's also one hilarious throw-away/blink-and-you'll-miss-it reference to James Cameron's "The Abyss" that makes you wonder if perhaps the screenplay was first reworked in the 1980's before its final incarnation here.
In the casting department we find Patricia Clarkson, yet again, is a delight in her curiously under-written over-written role (which is far too simply complex to explain in a traditional review) and continues to build a case for herself to be declared this generation's "Best Supporting Actress" twenty years from now. Evan Rachel Wood is cute-as a-button (oh, as her character might declare, what a cliché) as a Southern cutie-pie who runs away to New York City and meets up with the suicidal Boris. Allen, as always, is luminous with his photography of the "young lady." And unlike the similarly dumb motor-mouthed funny-voiced Mira Sorvino character from "Mighty Aphrodite", Wood's character is actually given an arc here and proves not to be as shallow and moronic as Boris originally assessed, which indicates maybe Allen is growing just a teeny bit in his view on women...or maybe not.
Ultimately this is yet another testament to Allen's world-view, which is summed up here as do whatever works for you to trick yourself into believing you're happy in this miserable world. Sure, there are times when Boris' diatribes run a few lines too long, or when the film stops dead when he is not on screen, but for the most part, this is Allen doing what works best for him. No other director can call himself out on all his personal pratfalls and annoying quirks yet still find a way to endear himself to the faithful who are ever patient with him and his films. No other director can be so charmingly mean-spirited and self-deprecating yet still find a way to declare his alter ego a genius at picture's end. And that's why we've always liked you, Woody, for better and for worse. For what it's worth, when it comes to Allen's better and worse, "Whatever Works" falls happily in between and works just fine, thank you very much.
The plot of "Whatever Works" is irrelevant. Boris is some sort of genius-level physicist trying to speed his way to death, though those metaphors are never explored as poignantly as they should be. It all just serves as a soap-box for Allen (through David) to funnel his usual dialogues about relationships, love, luck and the meaning of life. It's all very broad and obvious this time around, but it's sometimes nice to still be laughing at the same old feel-good shtick. It should come as no surprise that Boris also tells the audience this isn't a movie designed to make you feel good, unless you're Allen fans, and then you'll feel pretty swell afterward. Leave it to Allen to infer moviegoers are inherently morons, but we're sophisticates for watching his films.
Apparently this is a re-worked screenplay from the 1970's and the "Annie Hall" style monologues to the audience are evidence of that. In the jokes department you'll find old standards mocking the French and suggesting kids should attend "concentration camps" for the summer mixed with modern humor about the Taliban and Viagra. There's also one hilarious throw-away/blink-and-you'll-miss-it reference to James Cameron's "The Abyss" that makes you wonder if perhaps the screenplay was first reworked in the 1980's before its final incarnation here.
In the casting department we find Patricia Clarkson, yet again, is a delight in her curiously under-written over-written role (which is far too simply complex to explain in a traditional review) and continues to build a case for herself to be declared this generation's "Best Supporting Actress" twenty years from now. Evan Rachel Wood is cute-as a-button (oh, as her character might declare, what a cliché) as a Southern cutie-pie who runs away to New York City and meets up with the suicidal Boris. Allen, as always, is luminous with his photography of the "young lady." And unlike the similarly dumb motor-mouthed funny-voiced Mira Sorvino character from "Mighty Aphrodite", Wood's character is actually given an arc here and proves not to be as shallow and moronic as Boris originally assessed, which indicates maybe Allen is growing just a teeny bit in his view on women...or maybe not.
Ultimately this is yet another testament to Allen's world-view, which is summed up here as do whatever works for you to trick yourself into believing you're happy in this miserable world. Sure, there are times when Boris' diatribes run a few lines too long, or when the film stops dead when he is not on screen, but for the most part, this is Allen doing what works best for him. No other director can call himself out on all his personal pratfalls and annoying quirks yet still find a way to endear himself to the faithful who are ever patient with him and his films. No other director can be so charmingly mean-spirited and self-deprecating yet still find a way to declare his alter ego a genius at picture's end. And that's why we've always liked you, Woody, for better and for worse. For what it's worth, when it comes to Allen's better and worse, "Whatever Works" falls happily in between and works just fine, thank you very much.
útil•15036
- WriterDave
- 29 de jun. de 2009
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- How long is Whatever Works?Fornecido pela Alexa
Detalhes
- Data de lançamento
- Países de origem
- Centrais de atendimento oficiais
- Idioma
- Também conhecido como
- Whatever Works
- Locações de filme
- Empresas de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Orçamento
- US$ 15.000.000 (estimativa)
- Faturamento bruto nos EUA e Canadá
- US$ 5.306.706
- Fim de semana de estreia nos EUA e Canadá
- US$ 266.162
- 21 de jun. de 2009
- Faturamento bruto mundial
- US$ 36.020.534
- Tempo de duração1 hora 33 minutos
- Cor
- Mixagem de som
- Proporção
- 1.85 : 1
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