Wonder Wheel

An over-the-top theatrical extravaganza in the fun atmosphere of 1950s New York, backed by musical bangers of the era, as well as the legendary Coney Island – a gratifying backdrop for countless filmmakers. The content is always on the same note, a poignant story of ordinary people and their ordinary lives full of bits of happiness and disappointment. Kate Winslet lightly digs Cate Blanchett at times, and on the whole she succeeds. Justin Timberlake is again heavy on charisma. But don’t expect anything revolutionary. (04.03.2018)

Woody Allen again wrote it and filmed it himself, and I enjoyed it again. The well-arranged retro story with great actors (Kate Winslet and Jim Belushi are simply amazing) offers a familiar plot, but that doesn't mean that it can't surprise or that it lacks unforgettable moments (the phone call). The extra colorful retro camera initially goes well with the plot, but then it gradually begins to contrast sharply with it, which is a great idea, and I really liked the simple but impressive metaphor with a little pyromaniac who, like his mother, just can't help it. (06.01.2018)

From the fifth minute on, I couldn't shake the feeling that this should have been a theater play. It places even greater emphasis on dialogue than usual, as well as slightly different acting moods. Justin Timberlake handles this combination best, as he can both play innocent and emphasize the dramatic aspect, while Kate Winslet is somewhat restrained until almost the very end. Jim Belushi is completely lost, and his clumsy shouting is occasionally shocking. However, this is still Woody Allen, where actors are mostly just a tool for the main concept, and this time it doesn't fall behind. The retro mood works perfectly despite the small space, and both amusingly intense and sadly sincere moments fulfill their role excellently. Maybe if it wasn't so obvious that it's just a one-act play, I would have left the cinema even more uplifted. (12.01.2018)

There are a few (and really not many more than a few) amusing moments in Wonder Wheel, but seriously, this is not a comedy, but rather an inaccessible relationship drama in the spirit of Eugene O'Neill's plays. Just as the main female protagonist is torn between her boorish husband and an unreliable lover, the entirety of Wonder Wheel is in conflict between a dazzling visual aspect with extremely kitschy compositions and golden light-infused shots and the sad stories of unhappy characters (which are in defiance of the deliberately unnatural retro stylisation, which gives the impression that the characters are moving about in theatrical scenery). I enjoyed the unintentional (?) overlap of two incompatible styles more than the banal relationship mishaps, diffident acting performances, dialogue written without wit or humour and the rigid directing (the proven shot/countershot technique in dialogue scenes, which comprise approximately 98% of the film, is only rarely supplanted by a longer shot with a more sophisticated intra-shot montage). The saddest thing is that this is clearly not a film by a talentless filmmaker. He primarily gives the impression of being terribly lazy, avoiding the effort to pull more out of himself. Again, the work of a tired artist from which the viewer will also walk away feeling tired. 50% (07.09.2019)

At first, I admittedly wasn't thrilled with the subject matter of this new Allen film - the 1950s at Coney Island? And with Kate Winslet? However, in the end I was satisfied, as I have been so many times when Allen has made a retro film. Wonder Wheel is narrated by a young Justin Timberlake (and he's surprisingly very good), his counterpart is an aging Jim Belushi (unsurprisingly great, since he's been one of those who’s been great for years), and in between are two women, the aforementioned Winslet as an aging actress out of work and Juno Temple as a blonde bimbo in trouble. Wonder Wheel can thus spin boldly with all those typical attributes. There are numerous references to pop culture, there is intensified love of cinema and theater, a lot of quotes from O'Neill's plays, and of course fate in the sense of ancient dramas. It's nothing new or surprising from Allen, but once again it's a very enjoyable experience. There is undeniable value in being reunited with interesting dialogue, meaningfully constructed twists and turns, and authentic production design that few productions around the world actually dabble with to such an extent. The atmosphere is magical and almost tangible, pleasantly cool in the rain and hot in the sultry summer. I really hope the scandal of 2018 doesn't spell Allen's untimely demise. His late films are more exceptional every year, which is especially evident when confronted with the many new superficial films of today. (15.05.2019)