Romantic seems to not accurately describe Midnight although it forwardly acknowledges in plot and in dialogue the disappointments of romanticism itself.  There’s a discussion (albeit one-sided) between two of Allen’s characters, played by Owen Wilson and Michael Sheen about an idea termed “golden age thinking,” a longing for a time outside of the present, where everything seems to have burned a little brighter.  For Wilson’s character Gil, this is 1920s Paris.

This discussion of nostalgia lays the foundation for the fantastical experiences Gil begins having as at the stroke of midnight each night as he’s wandering the streets of Paris alone, a car picks him up and transports him back to that time.  There he parties with Hemingway, has absurdist discussions with Salvador Dali, Gertrude Stein gives him notes on the novel he’s writing (a novel which itself is about nostalgia), and stops Zelda Fitzgerald from jealously throwing herself into the Seine.  But more importantly, he meets a lovely girl named Adrianna who seems to be approaching the end of her affair with Pablo Picasso.

If there was an ensemble cast to pay attention to, it’s here.  There’s no shortage of Oscar winners, including Kathy Bates as Gertrude Stein, Adrien Brody as Dali, and Marion Cotillard as the lovely Adrianna.  Watching other fine actors such as Alison Pill and Tom Hiddleston imitate these iconic and brilliant characters of history is endlessly charming.  The first lady of France, Carla Bruni, even makes an appearance.

As ridiculously sentimental and idyllic as it all sounds, Allen’s best move was not to take it too far.  Especially considering that there’s nothing deeper to this story than meets the eye.  Like Chehkov’s gun, the discussion of the faults of nostalgia in the first act gently rears its head in the film’s ending–the best ending Allen could have written for his film. But I won’t spoil anything.  Midnight in Paris is perfectly enchanting.

3.5 out of 4 stars

A European friend of mine once told me that if I watched an Almodovar film, even if I hadn’t been to Spain, I’d feel like I had. I don’t know if that’s necessarily true, but I do know that I feel like I’ve been there now after watching Vicky. Or at least, I saw the the Spain that every American wishes existed. The film follows BFFs Vicky (Rebecca Hall) and Cristina (Scarlett Johansson) as they spend their summer in Barcelona. Both are frustrated artists at heart (but mostly they’re just pretentious as hell).  After a chance encounter with a Spanish artist, Juan Antonio (Javier Bardem), the three go away for a weekend of lovemaking.  Although Juan is quite clear about his intentions, both girls pretend they’re going to experience a different part of Spain (and I’m not taking about Juan’s part). Things are quickly complicated by the fact Vicky is engaged to be married, and Cristina had food poisoning. Then enters Juan’s ex-wife, the tortured soul: Maria Elena (Penelope Cruz).  Sound like French New Wave?  While it’s not the definition of the style, the love triangles, and the matter-of-fact narration (which I fell in love with) is New Wave as Allen has ever been.

This goes without saying, but the cast is so talented, it makes you feel like the film is sort of selfish, hoarding all this talent.  It’s a pleasure to see Bardem perform in such a different environment then that of No Country For Old Men, although I did keep waiting for him to kill someone.  Patricia Clarkson and Johansson are reliable, as always and were a pleasure to watch, but I think the real stars of the show are Rebecca Hall and Penelope Cruz, both of whom act the hell out of the parts (in a good way).

Allen denied himself some of the ridiculous self-indulgences he’s allowed himself in the past, like his off-pitch improv antics in 2006′s Scoop (also starring Johansson), or 2007′s Cassandra’s Dream which was weighed down by pointless, boring dialogue. Vicky is a tight, quickpaced, sensual (without being erotic) good time that will leave you endlessly entertained.

4 out of 4 stars

Rottentomatoes: 81% – Cream of the Crop: 85%

Rated PG-13 for mature thematic material involving sexuality, and smoking.