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on 15 March 2000
This is a lightweight Woody Allen work, lacking the usual angst and darkness of the majority of his films. Spanning one year, we witness Allen himself (called 'Joe' in this) striking up a courtship with the somewhat younger Von (Julia Roberts). Their happiness lasts for a while, but like all good things it does come to an end. As ever, Juliet Taylor has assembled an interesting cast - Tim Roth, Natalie Portman, Edward Norton and Drew Barrymore are among the players this time round. And the director tries to liven things up with a perky female narrator ('DJ') who is that rare thing, a good Woody Allen young female character. He even drops in a hip-hop gag (see if you can spot it). And the video's high point is its final graceful moment, where Joe and an old flame half-dance, half-fly on the banks of the Seine one Paris evening.
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on 7 October 2008
I added this film to my love film list after realising I hadn't actually seen that many Woody Allen films. Since I have a pretty extensive film collection and am a complete movie addict, I thought that was an error that needed rectifying :)

As a modern musical I was fully prepared that I might not like this film, but I absolutely adored it. It's a wonderful concoction of love, romance, quirkiness, whimsy and theatrical numbers.

The film stars Goldie Hawn, Alan Alda, Ed Norton, Drew Barrymore, Natasha Lyonne, Natalie Portman, Julia Roberts, Tim Roth & Woody Allen. It follows the path of one family (a quite rich liberal New York family) over the course of a year. The loves, the losses, the crushes, and the mistakes they make along the way. It's got some fabulous comedy moments like Ed Norton's song and dance number and Tim Roth as an ex-con who comes to dinner at the manse.

The settings are superb. Woody Allen has expressed his love of New York by setting so many of his films there, but in this film he showcases the best of New York. In all the cut-aways throughout the film you see the most recognisable parts of New York at their best, full of vibrant colours that emulate the over the top nature of a true musical. Venice and Paris are shot in an equally exquisite way that just make you want to be there.

I would thouroughly recommend watching this film, if not for the beautifully written script, then for the wonderful acting, or perhaps even Ed Norton's & Woody Allen's slightly ropey singing. I will however point out that while I loved it, my boyfriend only made it halfway through. As much as I hate to admit it, this probably comes closer to the chick flick/romantic comedy category than I would like it to. Anyway, if you give this a go - I really hope you enjoy it.
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Love Woody Allen, but don't like musicals? That's pretty much my position. If you feel similarly, never fear, this isn't your normal musical. Trust Woody Allen to take a moribund form and have fun having his wicked way with it.

I recall first watching this film with some people who didn't like it all. They said it was a less than brilliant Woody Allen film with a load of schmaltzy songs sung pretty poorly by excellent actors who clearly weren't selected for vocal prowess. In some ways that's a perfectly valid and largely true analysis. But I find that, both in the context of Allen's larger oeuvre, or looked at in it's own right, Everyone Says I Love You is, whilst admittedly not Allen's greatest work, certainly a perfectly adequate (if workmanlike) confection. Above all it's simple silly fun.

But wait ... if that sounds like damning with faint praise, it's actually a fair bit more than that: it's also a celebration of that ol' razzle dazzle - not just of the 'golden age' of the American songbook, but also of the showbiz song 'n' dance routine. The dancing ghosts singing 'Enjoy Yourself' exemplify Allen's eccentric spin on the genre, and the trio of trick-or-treating kids doing a Latin American style banana song are priceless.

And, I think crucially, the fact that many of the excellent actors have merely reasonable voices gives this goofy musical a form of uniqueness and strength: I imagine practically all of us have a musical soundtrack to our lives, regardless of the 'pipes' we have or haven't got. We probably all have songs we like to sing to ourselves, songs we might even want to sing to the world in general, or perhaps someone in particular? Even if we aren't all great singers.

That kind of makes the occasionally wobbly deliveries - Allen's own is a case in point - that bit more poignant. And in this era of X-Factor and The Voice, not to mention in mainstream musicals generally, it seems a great deal of vocal talent is expended in sound that, whilst very professionally delivered, signifies less than nowt. Here the songs may frequently be silly, but they do at least say something.

Like Coppola's segment of New York Stories, there's something some viewers (me for one!) may find a bit icky about the super-rich milieu in which this film is set. Allen even suggests through his young female narrator character that the enchanted dreamlike quality of the story as a whole required that it be rendered as a musical; told straight no one would buy it! But ultimately Allen's films always have a richness of humanity, and his humour helps make it all palatable. Talking of humour, a recurrent Allen trope is to associate the American right wing with mental illness, something he riffs on here in the character of Lukas Haas, whose lapse into a phase of right wing ideology is ultimately revealed as being due to a lack of oxygen to the brain!

Alan Alda is solid in his role, whilst Goldie Hawn, Julia Roberts and Drew Barrymore are all drop dead gorgeous. Allen is his same old bad self, and there's an enjoyably silly cameo for Tim Roth, as a recently released convict Hawn takes under her liberal wing, with predictably farcical consequences. In a way this is just your typical Allen potboiler, in terms of familiar themes of shifting relationships, occasional musings on mortality, and plentiful laughs, ranging from the wittily urbane to the broad and farcical. It's just that in this instance he's chosen to treat the story as an oddball musical.

Not Allen's best by a long chalk. But don't be put off by the less than tip top vocals. Just enjoy it for what it is, an entertaining confection, laced with a nougat like selection of song, dance, wry humour, and lashings of fun.
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on 30 August 2008
As much as I loathed Moulin Rouge, I loved this. Where the former is over-stated, extravagent and cold, this is warm, intimate and doesn't take itself that seriously.
I have a problem generally with actors who don't/can't sing performing in musical films, but here for the most part they are actually very good (esp Goldie Hawn), but really its the low-key, naturalness that wins you over, and the story is really very good. Not "funny" but very, very enjoyable.
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on 25 July 2013
Not a favourite with some of the critics, but I love it! It has some great musical numbers done very well by stars who are not natural vocalists. It's funny, lovely to look at, and with super songs - what's not to like!
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on 13 October 2007
I was pleasantly surprised by a film that can be compared to a perfect dessert, tasting good, yet not heavy. Only Woody Allen could take threads from the films of the 20th century going back to the 1930s and weave a musical cloth suitable for today. The plot can be best described as pleasantly gossipy (since the main narrator is a young woman), but that is only one ingredient in the mixture that includes colour, song and dance, a bit of magic (watch the sequence on the river bank in Paris) and even a bit of Bollywood (a section of a song sung in Hindi by a Sikh taxi driver).
Highly recommended for a pleasant, relaxing evening.
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on 25 August 2015
Even the worst films of Woody Allen are worth watching but as a rule I would say the more of a 'Musical' they are, the worse they are. As soon as the first song came I knew this was a miss.And the cameo by Tim Roth was one of the worst piece of acting I have ever seen and surely Goldie Hawn is miscast as there is nothing philanthropic about her? On the plus side I thought maybe it predicted the kind of comedy Larry David did later with Curb Your Enthusiasm; you know the 'let's feel sorry for the poor little rich people' genre.
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on 6 November 2013
Just amazing customer service - am so sorry that we could not play it without the crack interfering as love the film, a really good example of Allen's work.
Thanks for the prompt repayment and the excellent client service will buy again
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on 28 February 2001
At its release, 'Everyone Says I Love You' was praised by all the reviewers who usually don't like Woody Allen films. So Woody fans should have been pleased... but it turns out they don't really have a reason to be. 'Cause this film lacks the best parts of the life'n'love philosophy we love from Woody.
Still, it is a film worth seeing. It seems like a collection of ideas, of small concepts that Woody found among his notes and wanted to put into a film. So he took them all, did put them into a film, and excused himself by making it a musical. A genre he probably wanted to experiment with anyway.
I guess only a film maker of Woody's class gets away with this experimental mixture of concepts and ideas. So 'Everyone Says I Love' IS quite entertaining.
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on 23 February 2014
Most entertaining in blu-ray, one of Woody Allen's best movies of the time. The 'dancing dead' scene has a lively score as this is a film musical. A large star cast, all singing, all dancing including the maestro himself.Great storyline, quirky, humorous and fun.
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