Hellen I like the storyline of this show,it attract me so much

Claysaba Excellent, Without a doubt!!

ShangLuda Admirable film.

Aubrey Hackett While it is a pity that the story wasn't told with more visual finesse, this is trivial compared to our real-world problems. It takes a good movie to put that into perspective.

HotToastyRag Anyone who's seen Stephen Sondheim's A Little Night Music is probably partial to the song "A Weekend in the Country" and will be able to appreciate the obvious inspiration behind Woody Allen's A Midsummer Night's Sex Comedy. Woody Allen and his wife Mary Steenburgen host a weekend party in their country home for their friends: Mia Farrow, Jose Ferrar, Tony Roberts, and Julie Hagerty. Sexual tensions abound, and pretty soon everyone winds up in bed with someone they shouldn't! While I'd categorize this one as more wacky than funny, it's not Woody's worst film. There are some pretty funny moments, especially if you recognize the famous spoof. If you're looking for the depression, moral dilemmas, and discussions about life's great mystery—themes that are usually present in Woody Allen movies—rent Crimes and Misdemeanors or Hannah and Her Sisters. But for something incredibly light and fluffy, watch the preview and see if you might like A Midsummer Night's Sex Comedy.

moonspinner55 Three man-woman couples vacation for the weekend at a summer house in upstate New York in the early years of the 20th century. Writer-director-star Woody Allen doesn't merely tread his own familiar territory, he treads other filmmakers' as well. Aligning himself with the masters (Shakespeare, Bergman and Renoir), Allen confuses the austere and cerebral with farce. While even recycled Allen witticisms (and characters!) still manage to be funny most of the time, his themes here--choices and regret, love and sex and the afterlife--prove to be a heavy load for a summer fling in the country to carry. Only when Woody falls back on his very modern talk (predictably a barrage of sexual frustrations) does he hit his stride as a writer, and yet the ensemble cast here doesn't quite click. Cinematographer Gordon Willis lights the outdoor scenes with a magical glow, but none of these lustful but doubtful neurotics are very appealing. ** from ****

jzappa The beginning of the twentieth century saw the birth of philosophical movements that have since dominated Western thinking: phenomenological existentialism and analytic philosophy. Woody Allen's concerns have always been most identified with the former, which has its roots in European thought, though the latter has been the predominant approach even during periods when the existential approach became particularly popular among the artistic community.Wisely, he combines the realities and spiritual fantasies of sex and love in this story of sexual escapades in the form of some geometric shape. As in many of his other films, he exemplifies the dichotomy between society and the rest of existence, in this case taking place at a time when technology was still in its infancy, so that we can see more clearly the roots of the schism, and clipping a few laughs Woody would never in his life pass up, involving his signature nebbishy caricature, an inventor here, peddling a bicycle with propellers on the top, or trying to core an apple or debone a fish with some ridiculous contraption. However, aside from these brief scenes, the movie is hardly a screwball farce. It has an airy sense of tongue-in-cheekness but that airiness results more in a head in the clouds. Woody's character's most important invention, a spirit ball, seems to generate an actual connection to an abstract metaphysical realm of the supernatural.He makes a living as a Wall Street stockbroker, yet we see him exploring the conceptual otherworldly realm. He lives in New York City, but he owns a house in the country to which he escapes with his wife in the summer. He is also inwardly at odds his sexual passions. He is torn between his feelings for his wife, whom he loves, and his libidinous desire to regain his lost opportunity with Mia Farrow's character.Despite this being one of Woody's more light-hearted efforts, he definitely explores some of the most universal themes he's ever analyzed in his body of work, like lost opportunities, perfect moments, the victory of romantic ideals over real life enactments of them. The memory's yearning for second chances drives the farce. All of the characters struggle clumsily to seize the clock in assorted ways, from the use of a camera to Woody's spirit box, an attempt to encapsulate the world's theoretical energies that in a way mirrors an early movie contraption.Where most of Woody's films chronicle the seriocomic moral evolution of his characters, those in this light and accessible little outing by the characteristically comforting Woody seem to increase their needs for indulgence in a portrayal of their intellectual emptiness and intemperance. What would've made the movie less accessible but doubly interesting would be a soundtrack entirely comprised of the Red Hot Chili Peppers album Blood Sugar Sex Magik. On a purely logical level, it fits.

evanston_dad Woody Allen's spoof of Ingmar Bergman's "Smiles of a Summer Night" is one of his weaker efforts. Mia Farrow can be a wonderful actress, but she's just not the go-to person for comedy, and Allen would have done better to stick with her for his more serious work only.Even not very good Allen films, though, are good for a one-liner here and there, and "A Midsummer Night's Sex Comedy" does deliver there. There aren't enough to make up for the film's stupid ending, but there are enough to make it possible to sit through.With this film, Allen was in a bit of a holding pattern between his excellent films from the 1970s and his fertile period in the mid-1980s.Grade: C