Accordingly, Match Point is Woody in Serious Mode, fastidiously humorless, cut from the same cloth as Interiors, September, and, predictably, Crimes and Misdemeanors, the main template for many a critical comparison -- both pictures are companion pieces of hollow misanthropy, immersed in mock-Dostoyevsky, facile darkness-of-the-soul pontificating, and an anger/fear of a senseless cosmos.
Set entirely in London, and filled with British characters save for one American (Scarlett Johansson), “Match Point” represents a cross between Dostoevesky's “Crime and Punishment,” Robert Altman's class-conscious period mystery “Gosford Park,” and Allen's 1989 “Crimes and Misdemeanors,” a highlight of his dramatic efforts.
No Allen movie since Crimes and Misdemeanors (16 years ago) has left as lasting an impression.
Those familiar with the director's masterpiece Crimes and Misdemeanors knew the buzz wasn't entirely justified.
But even with his darker works like Crimes and Misdemeanors, there was always a safety net of satire so no one had to deal completely with the immoral nature of the characters.
In the film's dark undercurrent -- the rationalization of ruthless deeds, the elusiveness of justice -- there are glimmers of "Crimes and Misdemeanors."