A master at work.

Rating: 9/10 (16 April 2006)

Essentially, this is a very tense moment teased out to just over two hours.
All the elements of a masterpiece are here; incredible cinematography, crackling, multi-layered script, knock-out acting by the players, and an ultra-fine tuned directorial sense pulling all these wonderful strands into one infinitely tangible whole. I mean that in the real sense of the word. This is a WHOLE film! A rare thing these days.
The acting is top-notch; Brian Cox has never been so subtle, nor Scarlett Johansson so highly seductive. Her close-up shots almost feel like slow-motion, as if she could somehow expand time with those luscious lips, do weird things to your perception of time, at any rate. And Woody isn't afraid to make the most of her ample charms, either. Oh yes!
I didn't like Chris Wilton from almost first glance, and it's difficult to express how I felt about him by the end without giving too much away, but suffice to say his performance alone makes the piece worthwhile. But that's all so true of the other players; Matthew Goode was bang on the nail, Emily Mortimer just keeps getting better, etc., etc. Where to begin?
I mean, in a regular movie, any of these performances would have stood out as being extraordinary, but as they are *all* that, it's difficult to pluck out any single performance for especial praise; a mark of the exceptional direction as much as anything, but whatever the individual elements, it works; Woody placing the viewer at the precise point between the lead character's inner and out self, where we may experience both. Fantastic stuff.
Yeah, I've just seen Match Point, and so I'm still buzzing about it, and by morning, when the deeper layers of the film have worked their way into my subconscious, I'll likely feel different about things, and all this talk of performances and cinematography will seem trivial and mundane, but still, it's the wee details that make the masterpiece, and this film most certainly is that.
I want to see Match Point again, and soon, soaking in some more of that detail; it's simply not possible in a single viewing. Sure, the story's essence may be the matter of "Luck", but nothing here has been left to chance; London suits Woody's temperament methinks, perhaps the air is cleaner than Manhattan. Ley Lines, maybe? Whatever it is, everything appears in sharper focus, as if Woody's vision is getting better with age. To have this beautiful script (and a great story) brought to life with such clarity and finesse did actually take my breath away, sometimes for minutes at a time.
You know how those really scary Japanese films can jiggle your fear cells by means of carefully placed everyday objects, well, Woody doesn't exactly follow this school of scary film technique, but his masterful use of objects has a similar, though infinitely more devastating impact on the sensory system. How is it possible to induce such panic with the lights on? You will see!
The structure of the piece is remarkable, too, but to broach that is to jump the train to spoiler city, so I'll leave you to ponder. In fact, I realise now that the review I *want* to write is *all* spoiler. To be woven so tightly into the thoughts and motivations of a character that you know what he will do before he does it, not because it's obvious, or because there's some dumb talk-over, but because it's what *he* would do, is perfectly crystallised motivation. There's comes a point in the film when you suddenly think "No! He's not gonna do it!", and know perfectly well that he is. Actually, there are a few moments like that, quite a few, and the skill in which the elements that conjure these realisations are placed and guided through the visual field is simply stunning. I finally understand what the word "Director" means!
Okay, I've enjoyed his films since I was a kid, but the truth is, though do I respect and admire his work, I've never been able to shake that image of Woody in a Jester suit, jousting the lock of a chastity belt, desperately attempting to unleash the magic within, and, of course, making a fool of himself.
Two things have changed.
1. Woody has finally unlocked the belt, and released the magic. 2. I no longer see the Jester suit.
Good Work Mr. Allen!
-fm
ps.. Don't die until until you've made few more films! And, Come to Scotland!