One of Woody Allen's best

Rating: 8/10 (19 January 2017)

The sheer volume of prolific writer/director/actor Woody Allen's back catalogue means that any new work will always have audiences comparing them to his earlier, more universally-acclaimed pictures. Born in 1935, it has been over fifty years since his first peek behind the camera with What's Up, Tiger Lily? (1966), and he still pumps out roughly a film per year. The declining quality doesn't help either, with (before Midnight in Paris) his only truly excellent film being the incredibly sexy Vicky Christina Barcelona (2008) since 1999's charming Sweet and Lowdown. Perhaps he had the idea for years, but it felt like Allen may be having a sly pop at the nostalgia-fiends feeding off his past glories with Midnight in Paris, a heart-warming and funny exploration of a writer pining for a bygone age.
Gil Pender (Owen Wilson) is a successful Hollywood screenwriter holidaying in Paris with his fiancée Inez (Rachel McAdams). He is also struggling with his first novel, about a man working in a nostalgia shop, and his bride-to-be isn't helping matters by insisting they spend time with her rich, conservative parents and her annoying, know-it- all friend Paul (Michael Sheen). Gil feels like he belongs in a different decade, namely 1920's Paris, where the likes of F. Scott Fitzgerald and Salvador Dali enjoyed decadent parties and frequented the boisterous bars. On a walk one night, Gil is approach by an old-fashioned taxi as the clock strikes midnight, and the passengers beckon him to join them. Soon enough, he is chatting with the likes of Fitzgerald (Tom Hiddleston) and his wife Zelda (Alison Pill), as Cole Porter (Yves Heck) plays piano.
As Gil's nightly visits to the 1920's play out, a wealth of famous faces bring other famous faces to life. The likes of Ernest Hemingway (Corey Stoll), Gertrude Stein (Kathy Bates) and Dali (Adrien Brody) all brush shoulders with the awestruck writer, as well as the mysterious Adriana (Marion Cotillard), a muse of Picasso who catches his eye. The fantastic performances aside - Stoll is a particular revelation - Paris itself is a star of the movie, akin to what Allen did may times with his New York-set films. It's certainly overly-romanticised, but this only serves to heighten Gil's sense of wonder, and he is hopeless romantic after all. Midnight in Paris is Allen's wittiest, warmest and most effortlessly entertaining films since 1994's Bullets Over Broadway. It may be difficult to avoid comparing this to the director's classic works, but Midnight in Paris sits easily as one of his best.