It’s sentimental, ridiculously long and only occasionally funny

It is neither dumb nor smart enough to be fun, and spends way too much time with its boring human characters.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

This movie makes me happy. The humor seems not at all forced as I feel it sometimes is in Woody Allen movies. The battles of all the participants is fun to watch. It is set in the time of early Freud, and everyone displays their inner turmoils in various and entertaining ways.I have read several of viewer's reviews and I would recommend reading them. I will not do a synopsis nor a paraphrased review.I just watched this film's ending again and the slowly rising, bubbling "firefly" joyful ending is one that sends me from the viewing room out into real life with a renewed interest in things (aka "Stuff"). Movies are cool.

Review: I really wasn't that impressed with this movie because I didn't find it that funny or slightly interesting. The concept, which is basically about a group of friends who lust over each other in the wilderness, got a bit tedious after a while and Woody Allen's weak jokes and silly characters didn't have any depth or substance. The fact that everyone is lusting over Mia Farrow, didn't help because I really couldn't see what was so adorable about her. Woody Allen, who plays a mad inventor, was also quite annoying after a while and he just seemed to be running around, setting up rendezvous's with the different characters. The whole look and feel of the movie was quite dated and the storyline goes down some weird avenues that go a bit too far. Disappointing!Round-Up: With only one movie left in this Woody Allen series, I still haven't seen anything that amazing from this accomplished writer/director and I personally think that the movies with Diane Keaton are much better than the Mia Farrow ones. All of his films seem very similar to one another and the concepts, which are usually based around troubled relationships set in New York, aren't that imaginative. Before I got into this filmography, I was hoping to see the mind behind his unique work, but all I have seen is that he is definitely one for the ladies and he loves writing about relationships which are in turmoil, which shadows his own life in his latter years. Because I watched these films back to back, I honestly got fed up with them after a while and his humour is for a certain crowd which I am not part of.Budget: N/A Round-Up: $9millionI recommend this movie to people who are into there Woody Allen movies about a group of friends who get together in the wilderness and end up lusting for each other. 3/10

"A Midsummer Night's Sex Comedy" is one of Woody Allen's movies making fun of rich people's relationships. Based on an Ingmar Bergman movie that I haven't seen, it depicts some couples spending the weekend with an inventor (Allen) and his wife (Mary Steenburgen). The six of them then proceed to start having affairs with each other! The movie's downside is of course that Woody Allen started obsessing on neurotic rich people having affairs, and eventually reached an all-time nadir with "Everyone Says I Love You". Even so, what the movie itself shows is some really funny stuff. More than anything, it demonstrates that Allen is at his best when just trying to be funny ("Take the Money and Run", "Bananas", "Sleeper"). Other than that, the movie has some typical Woody Allen-style lines, and an almost mystifying ending. Really interesting. Also starring José Ferrer, Mia Farrow (in her first appearance in an Allen movie), Tony Roberts and Julie Hagerty (of "Airplane!" fame).

The beginning of the twentieth century saw the birth of philosophical movements that have since dominated Western thinking: phenomenological existentialism and analytic philosophy. Woody Allen's concerns have always been most identified with the former, which has its roots in European thought, though the latter has been the predominant approach even during periods when the existential approach became particularly popular among the artistic community.Wisely, he combines the realities and spiritual fantasies of sex and love in this story of sexual escapades in the form of some geometric shape. As in many of his other films, he exemplifies the dichotomy between society and the rest of existence, in this case taking place at a time when technology was still in its infancy, so that we can see more clearly the roots of the schism, and clipping a few laughs Woody would never in his life pass up, involving his signature nebbishy caricature, an inventor here, peddling a bicycle with propellers on the top, or trying to core an apple or debone a fish with some ridiculous contraption. However, aside from these brief scenes, the movie is hardly a screwball farce. It has an airy sense of tongue-in-cheekness but that airiness results more in a head in the clouds. Woody's character's most important invention, a spirit ball, seems to generate an actual connection to an abstract metaphysical realm of the supernatural.He makes a living as a Wall Street stockbroker, yet we see him exploring the conceptual otherworldly realm. He lives in New York City, but he owns a house in the country to which he escapes with his wife in the summer. He is also inwardly at odds his sexual passions. He is torn between his feelings for his wife, whom he loves, and his libidinous desire to regain his lost opportunity with Mia Farrow's character.Despite this being one of Woody's more light-hearted efforts, he definitely explores some of the most universal themes he's ever analyzed in his body of work, like lost opportunities, perfect moments, the victory of romantic ideals over real life enactments of them. The memory's yearning for second chances drives the farce. All of the characters struggle clumsily to seize the clock in assorted ways, from the use of a camera to Woody's spirit box, an attempt to encapsulate the world's theoretical energies that in a way mirrors an early movie contraption.Where most of Woody's films chronicle the seriocomic moral evolution of his characters, those in this light and accessible little outing by the characteristically comforting Woody seem to increase their needs for indulgence in a portrayal of their intellectual emptiness and intemperance. What would've made the movie less accessible but doubly interesting would be a soundtrack entirely comprised of the Red Hot Chili Peppers album Blood Sugar Sex Magik. On a purely logical level, it fits.