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*****! 5 STARS!
[highest rating]
"SUBLIME! Take the occasion of Film Forum's rerelease to bask in the tricky balance of hilarity and melancholy."

– Keith Uhlich, Time Out New York


(1977) “Annie and I broke up, and I still can’t get my mind around that.” admits Woody Allen’s stand-up comic Alvy Singer, and while Diane Keaton’s Annie stammers, stops and starts, laughs nervously, and lah-dee-dahs (subtitles tell us what both are really thinking in their first tête à tête), he looks back on his difficulties with women (“Sex with you is really a Kafkaesque experience,” observes Shelley Duvall), narrating, addressing the camera in the midst of a scene, standing in the background of moments of his and Keaton’s past, while administering the ultimate putdown to a movie line pontificator, watching The Sorrow and the Pity three times, and getting relationship advice from passersby. Allen’s critical breakthrough, achieving real poignance and feeling amidst the hilarity, and the elegant visual style that would now be consistent throughout, in his first collaboration with the great cameraman Gordon Willis (The Godfather). Its original title was Anhedonia (look it up). Oscars for Best Picture, Director, Actress, and Screenplay, plus Woody’s only Acting nomination.



– New York magazine

"Lovely performances, and more superb gags in one minute than most movies manage in 90. It's like drinking champagne."
– The Guardian

"A signal work of first-person cinematic modernism. With a panoply of effects—including constant frame-breaking asides, split screens, superimpositions, flashbacks within flashbacks, an animated sequence, and the deus-ex-machina deployment of Marshall McLuhan—Allen joins the Catskills tummler’s anything-for-a-laugh antics with a Eurocentric art-house self-awareness and a psychoanalytic obsession in baring his sexual desires and frustrations, romantic disasters, and neurotic inhibitions. His eruptive display of the New York Jewish voice is a film counterpart to Portnoy’s Complaint."
– Richard Brody, The New Yorker
Click here to read the full review. 

"Remains a classic, largely because it's filled with classic scenes and bits, like pulling Marshall McLuhan from behind a movie poster to refute some blowhard at the old New Yorker theater, battling feral lobsters in the kitchen, Alvy attempting to kill a spider in Annie's bathtub, or Alvy's schoolmates giving us their future occupations. There are a lot of pretenders to the throne of the great American romantic comedy, but there's something about the directness of Allen's stand-up-inspired comedy style that translates beautifully to this film."
– Jaime N. Christley, Slant Magazine
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“Woody quotes Groucho Marx’s statement that he’d never belong to any club that would accept someone like him as a member. Then Allen muses that maybe he should never get into a relationship in which one of the partners is himself. Tricky, isn’t it? And in Annie Hall he makes it very funny, and sad, and tricky indeed.”
– Roger Ebert

“[Keaton] took me by surprise in Annie Hall... There she blossomed into something more than just another kooky dame — she put the finishing touches on a type, the anti-goddess, the golden shiksa from the provinces who looks cool and together, who looks as if she must have a date on Saturday night, but has only to open her mouth or gulp or dart spastically sideways to reveal herself as the insecure bungler she is, as complete a social disaster in her own way as Allen’s horny West Side intellectual is in his. A fit of misfits, a pair of compatible insecurities, they are the romantic couple of the seventies.”
– Molly Haskell