Melinda and Melinda (2005)

While the main lure for audiences--Will Ferrell--is basically forgettable, Allen does compose one fascinating and witty look at the human mind and its own ability to depict events through our own sub-conscious preference.

Reminds us there is little to divide comedy from tragedy, and that neither comes exclusively. After all, the tears of sorrow and the tears of joy both come from the same place, and dampen a tissue with equal intensity.

Mitchell, in her dual role, gives a breakout performance (two of them, in fact).

A movie just shouldn't feel like homework. And with the constant shift in stories and repeatedly reinvented characters, unless you're in the mood for taking notes, you're going to feel like you're invited to rehearsals, rather than the finished product.

full review in Greek

All the inner workings of "Melinda and Melinda" show that Allen has finally risen above, returned to his position as a fine filmmaker.

It has great performances, snappy one-liners and a likeably tricksy structure, all wrapped up in an affirmative antidote to life's daunting complexities. Welcome back, Woody.

Allen presents the side-by-side stories as if to compare the comic and tragic views of experience, and it might work but for the fact that the two [playwrights] come up with dissimilar plots featuring different characters played mostly by different actors

One story, two versions, each from Woody Allen, so you know you're in for it.