Two films ago, with “Café Society,” Woody Allen opened Cannes. Last time out, with 2017’s “Wonder Wheel,” he closed the New York Film Festival. His latest film, the fi…
Woody Allen
Despite featuring some of the best actors of their respective generations, “A Rainy Day in New York” feels like a film born of profound creative exhaustion. It is a retread of territory Allen has extensively covered before, but while the same can be said about almost all of his late-career work, seldom have the gears ground quite so loudly, and never before has the writing felt this chronically out-of-phase with the era it depicts.
This all spoils Gatsby’s plans for a weekend of fancy meals, upscale hotels and evening cocktails listening to jazz piano while avoiding his mother’s snooty soirée. Ashleigh goes off on an extended caper involving the unfinished film’s screenwriter , his faithless wife and a famous heartthrob who completes the trio of age-inappropriate men vying for her flighty attentions.
Still, unfunniness is only the most obviously dispiriting attribute of “A Rainy Day in New York.” Side characters are underdeveloped and bizarrely inconsequential, like Gatsby’s school friend who shows up just to coin the sick burn “Turner Classic wimp” and to immediately relate the name “Ashleigh” to Ashley Wilkes from “Gone With the Wind,” because this is an alternate America that apparently has not produced female Ashley/Ashleigh/Ashlees in bulk in the decades since 1939.
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