Laikals The greatest movie ever made..!

Afouotos Although it has its amusing moments, in eneral the plot does not convince.

Ginger Very good movie overall, highly recommended. Most of the negative reviews don't have any merit and are all pollitically based. Give this movie a chance at least, and it might give you a different perspective.

Madilyn Not sure how, but this is easily one of the best movies all summer. Multiple levels of funny, never takes itself seriously, super colorful, and creative.

cudkey The poster might have said, "Six miserable, neurotic people in a summer house." But I like how dry and tired it all is. A lot of soft light, musing, fumbling and mumbling. ("I thought we were gonna go see that new Kurosawa film", etc.) Palpable ineffectiveness; chronic dissatisfaction. And the meanness of the mother is perversely great (to her daughter: "I always thought there was a fatal element of hunger in your last affair.") Despite all the interacting and "relating", they're all kind of in their own little worlds: Howard, the putterer trying to replace his dead wife; Lane, the professional victim who sets her sights on a fickle man; Stephanie, the bored Mom trying to "cut loose" in a confused and half-hearted extramarital fantasy; Diane, the aging narcissist; Lloyd, the codependent enabler; and Peter, the Prufrock Casanova writer dude in the pink polo. At one point during a party, Diane just goes off by herself to play with a Ouija board and drink. Then, even after the fireworks between Lane and Diane, everyone slips back into their roles: Howard fades into his garden; Diane lets Lane keep the house (because it would look too monstrous not to) and heads for the beach; Lane's still miserable because she can't have Peter; Stephanie retreats to suburbia or whatever; Peter's off to New York; and Lloyd just follows Diane around with her luggage, making excuses for her.This movie has a scary undertow. The two characters that seem the most straightforward and well-intentioned (Lane and Howard) are the ones who get rejected. (Peter doesn't count, I suspect Stephanie might've continued their affair.) Also, at the end when Stephanie assures the suicidal Lane that she's gonna go back to New York and really get her life together, I don't believe anyone bought that - the characters, the actors, Woody Allen, the crew, no one. Then it all wraps up with some elegant shots and Allen's usual tasteful jazz number over the credits. Disturbing.

gridoon2018 A small, intimate, low-key drama from Woody Allen; though not as obviously experimental as, say, "Stardust Memories" or "Zelig", it is still a departure for him in the sense that the "action" is limited inside one house, and there aren't even any exterior shots. But the topics it deals with are pure Allen: love without response, family problems, aging, creative block, guilt, missed life opportunities, etc. Despite the talkiness and the extensive soul-searching in "September", it's not a particularly heavy or inaccessible movie; the characters are recognizable and human, and brought to life by a fine ensemble. After choosing an extremely pessimistic ending for "The Purple Rose Of Cairo" and an extremely optimistic one for "Hannah And Her Sisters", Allen takes the middle path this time: he concludes that life must go on, and people must try to find meaning and happiness, and maybe they will, or maybe they won't. If you're in the mood for it, "September" is a very involving film. *** out of 4.

Rodrigo Amaro Woody Allen's dramas aren't the cup of tea of most audiences but the ones who have the patience and understanding of what this genius is trying to do are certainly rewarded. Flowing like a play, "September" takes place in a summer house in Vermont where three couples are vacationing in a relative tranquility that is about to be disturbed a little when some of them fully realizes they married the wrong partner and they want to live the right one.So, we have Lane and Peter (Mia Farrow and Sam Waterston), Stephanie and Howard (Dianne Wiest and Denholm Elliott) and the veterans Diane and Lloyd (Elaine Stritch and Jack Warden) and here's how things turn between part of them: Howard loves Lane and she seems connected with him but she can't leave her husband, who is deeply in love by Stephanie, who is trying to resist his attempts for her. While these four are clinging to their own feelings, remembering the past and all, the older couple (Lane's mother and her step dad) seems to be having a good time and making some plans for the future that might upset the eternally depressed Lane.With this crossed couples and their broken hearts, Allen touches us by saying that we shouldn't be attached to anything. We shouldn't be so attached to other people (because they disappoint you no matter the relations you had with them); we shouldn't be attached to things (as later is shown when Lane's mother wants to sell Lane's house and we have this huge argument about the good connection, the memories they had with the place); and most of all we shouldn't be so attached to our memories (perhaps the most dangerous of the ties). But, we're human beings and this sense of being connected with something or somebody is what makes us different from other creatures, so how do we end with? How do we make things in the way of not suffering? What does this character will make with their lives? Us and them are going to still be living in the same old contradiction of all, doing the things we don't want to, maybe one day, get the things we really want. And it all happened in that crazy month of August (if you pay attention the story takes place in August, not September). How's things going to be in September, the future? Who can tell?It's a minor work by Woody, who seemed to be looking for perfection with such fine material that he filmed one version with different actors (Sam Shepard, Charles Durning and Maureen O'Sullivan replaced by Waterston, Elliott and Stritch) to later make this final version cause he saw things weren't working the way he wanted with that cast. I don't know why such demands (it cost a lot in his budget and the movie failed at box-office, and now it's one of his more obscure works, his least known); the script is well written, Allen at its best with dialogs and inspired dramatic moments (exchanges between Stritch and Farrow are amazing, the whole cast is brilliant). If you found it must be watched because of its great cast and the compelling plot Allen creates with these characters. I dare to say "September" is one of his finest works. 10/10

nycritic There seems to be a misunderstanding between people and critics who have seen Woody Allen's September. It's as if they were expecting something and that something didn't deliver, or if it did, they either didn't catch up on it or it did so in an unsatisfying manner. I personally love this movie because of the situation it presents by putting together six people inside a summer home, filling them with the ghost of unrequited love and a secret that seems to be about to burst forth at any given time. Mia Farrow plays Lane, a mousy woman who is spending some time alone to nurse some inner hurts, has been harbouring a love towards Peter (Sam Waterston) who is considering writing a book based on her mother Diane (Elaine Stritch) who has come to visit with her husband Lloyd (Jack Warden). Peter at the same time is finding himself falling for Lane's friend Stephanie (Dianne Weist), while Lane is at the focus of a friend's attention (Denholm Elliott).September has this way of looking like a comedy of manners without the laughs and with a deadline to meet. The thing is, when you place so many people and so much angst together under one roof, it's only time before something unspeakable comes forth -- and in this case, it's the unresolved issues between Diane and Lane who have some truly awful baggage together. Due to the fact that Diane, even when she says she's moved on, is rather insensitive to her daughter, and her daughter is much too sensitive and incapable of moving forward, they seem poised for some serious explosion. It's all very modern-day Shakespearean and while the movie is devoid of any humor (except some witty dialog that only those keen in ear will catch), this could be, in a lighter tone, resemble the sitcom it's about to turn into. Even so, this is quiet affair, quintessential Woody, with a sextet of actors very much a part of his rotating troupe and a satisfying watch.