Everyone Says I Love You (1996)
Directed by Woody Allen
A New York girl sets her father up with a beautiful woman in a shaky marriage while her half sister gets engaged.
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What critics compared Everyone Says I Love You to
The road to resuscitating the Hollywood musical—which is to say, an original screen musical as opposed to an adapted Broadway show, such as Chicago —is beset with honorable failures from major auteurs: Scorsese’s New York, New York (1977) sank beneath its own romantic psychodrama; Coppola’s One From the Heart (1981) eventually bankrupted the filmmaker and closed Zoetrope Studios; Woody Allen’s Everyone Says I Love You (1996) was liked by critics but achieved only semi-liftoff with audiences.
That’s understandable: Sustaining the wit, invention, and exuberance of those old musicals at feature length is incredibly difficult — remember Woody Allen’s Everyone Says I Love You ?
Still, that traffic-jam-party idea had far more kinetic energy when it was done here, on West 46th Street, in “Fame” — and Stone’s levitation isn’t as adorable as Goldie Hawn’s in “Everyone Says I Love You.”
At times, La La Land resembles the missing link between the nostalgic creakiness of Woody Allen’s throwback musical Everyone Says I Love You and the futuristic fluidity of Alfonso Cuarón’s sci-fi adventure Gravity (not least during a swooning fantasy sequence in the iconic Griffith Observatory).
Woody Allen tried to resuscitate the genre with "Everyone Says I Love You," but his big mistake was casting himself as Julia Roberts' love interest (yeah, right).
When it does appear, it doesn't make much of a splash, even when filmmakers try to give it a fresh spin as did Woody Allen in "Everyone Says I Love You" and Kenneth Branagh in "Love's Labour's Lost."
Roth is an even more memorable thug here than he was in the differently "alien" universe of Woody Allen's Everyone Says I Love You , gnashing teeth, striding around with baboonishly coiled force, letting the various chips on his shoulders forever get the better of him.
For years, the young women in Allen's films - Mariel Hemingway in "Manhattan," Juliette Lewis in "Husbands and Wives," Natasha Lyonne in "Everyone Says I Love You" - actually seemed young.
His direction hasn't been as light-footed since 1996's musical "Everyone Says I Love You" and his cinematic relationships haven't felt as meaningful since 1992's "Husbands and Wives."
Though Allen himself hasn’t exactly been all over the map, the lifelong New Yorker has branched out since 1996’s Everyone Says I Love You shot in Venice and Paris.
Something about Barcelona - the architecture, the people, the food and wine - brought to life a quality that's been dormant in Mr. Allen's films quite possibly since 1996, when he tried his hand at the musical genre with "Everyone Says I Love You".
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On the occasions when he manages to forget Bergman and Fellini -- filmmakers whose main achievements, unlike his, depend on their original style -- he shows a flair for some of the less reputable genres of Hollywood movie art, including romantic comedy (Annie Hall), crime and showbiz (Broadway Danny Rose), melodrama (Husbands and Wives), murder mystery (Manhattan Murder Mystery), musical comedy (Everyone Says I Love You), low-budget B-film (The Curse of the Jade Scorpion), and now, with Match Point, erotic crime thriller.
With the exception of a brief sojourn to Paris for an along-the-Seine sequence with Goldie Hawn in “Everyone Says I Love You,” writer-director Woody Allen’s works have always been set in America, usually in his beloved New York City.
"Match Point," which deserves to be ranked with Allen's " Annie Hall ," " Hannah and Her Sisters ," " Manhattan ," "Crimes and Misdemeanors" and " Everyone Says I Love You ," has a terrible fascination that lasts all the way through.
Few directors have given me more pleasure over the past 40 years than Woody Allen , so it is a great relief to see him emerge after a fallow period of disappointments and disasters with his best film since Everyone Says I Love You in 1996.
46 years ago and in one section of Everyone Says I Love You, but this is the first time he’s given the city the royal treatment.
Wilson is a vast improvement over such dubious ersatz Woodys as Edward Norton (“Everyone Says I Love You,” also set in Paris) Kenneth Branagh, Will Ferrell and John Cusack.
Even more than in Everyone Says I Love You, it’s a valentine of the camembert kind, a nostalgic wonderland that offers up a picture-postcard version of the city (Look!
Radio Days (1987) did that, and so did Everyone Says I Love You (1996).
Simply for it easily being his most enjoyable work since Small Time Crooks and his most lovely since Everyone Says I Love You.