Match Point - Movie Reviews - Rotten Tomatoes

Match Point Reviews

Page 1 of 453
½ May 4, 2017
A terrible movie. The first half is repulsive and unwatchable. The second half got more interesting, but only because of how ludicrous it was. (First and only viewing - 7/2/2014)
March 16, 2017
The egocentric and reprehensible proposal of Woody Allen uses the very debatable positions between destiny, luck and effort, creating a tense and often repetitive drama whose central axis is the capacity of the human being to decide between our passions or the reason, where anxiety and obsession desperately cloud thought. The narrative is fluid, but predictable, and Allen's mental games are not fully consolidated to make this a sufficiently provocative and acceptably graceful story. Filled with devoid acts, the cast is rather irritating and uncool, only Johansson has a job that is more than fantastic, and although the screenplay and photography are worthy of admiration, this attempt to unite opera and drama, as well as the comments that are usually cited to produce a poetic effect and sustain the work, point to a rather artificial and discursively unfinished result. 62/100
March 8, 2017
Allen switches from NewYork to London and returns to the theme of Cultural Capital.

I don't generally like Myers but he is great in this.
A serious twitch off Johansson.

A decent psychological thriller.
January 22, 2017
While many considered this a return to form from Woody Allen, without it being much of a thriller, this humourless tale of mixed relationships is for me at least one of Allen's poorest efforts. (spoiler) It is basically a rehash of Crimes & Misdemeanours and I much prefer the underrated Cassandra's Dream.
January 11, 2017
A great, underrated gem in Woody's filmography. A film that feels like a "who dunnit?" but we know who the culprit is all along. One of Woody's best (minus Scarlett's inferior acting & poor improv)
December 25, 2016
This is quite a thriller I had to watch
a few times.
½ December 10, 2016
Loved it when it came out. Doesn't hold up.
½ November 1, 2016
Enticing, trepidatious, sexy, and a philosophical view on fate and human nature.
½ October 6, 2016
A much better version of what Allen was trying to do with Crimes and Misdemeanors. It's a nihilistic atheist's response to Dostoevsky's "Crime and Punishment," and as well thought out as Allen's film is, Dostoevsky definitely still wins this debate to me artistically and philosophically.
September 18, 2016
Un drama de pasion y crimen que compensa su inicio lento con una dosis de suspenso que crece como bola de nieve cuesta abajo. Vale el esfuerzo.
½ September 13, 2016
In the ultimate game of cat and mouse our antagonist finds the luck and fortune only few have! This tell of infidelity and cover ups will tap many emotions. I challenge anyone to watch and resist the urge to yell WTF at your TV when the credits roll.
August 27, 2016
"-The man who said "I'd rather be lucky than good" saw deeply into life. People are afraid to face how great a part of life is dependent on luck. It's scary to think so much is out of one's control. There are moments in a match when the ball hits the top of the net, and for a split second, it can either go forward or fall back. With a little luck, it goes forward, and you win. Or maybe it doesn't, and you lose."
August 18, 2016
A pretty deep and dramatic tale of luck, betrayal and relations
July 30, 2016
The Best part about this romantic drama is the surprise, once the expectator is totaly involved with these well developed characters, the climax and conclussion are just a thrill.
July 29, 2016
O último grande filme de Woody Allen
June 15, 2016
Could this be the first non-comedy that Woody Allen has made? I think so. It's not a bad film, a good cast and story but I think that a lot of Woody Allen fans would be expecting something different.
½ May 6, 2016
Viewed this on 5/5/16
Perhaps the best Woody Allen film I have ever seen, its not a kind of film that I had expected from Allen. Through it starts off as a romantic film, it soon builds up tension and becomes a thriller. Moreover, it takes a U-Turn whenever you expect it to make a predictable turn. The acting is also terrific.
½ April 15, 2016
Jonathan Rhys Meyers accent is so poor and his acting so wooden that it is hard to focus on the film. Which is also pretty poor.
March 31, 2016
I'll take a clean-cut hero of the Atticus Finch kind any day, but much more engaging is the scoundrel. From Walter White to Tony Montana, there's something iniquitously entrancing about watching a serpent of a man commit bad while others stand by hopelessly, knowing that putting an end to his well-oiled sins is next to unthinkable. A fraction of us goes along with his evils because a downfall is something we're interested in witnessing. But another is invested in seeing just how many bad things our scoundrel can do within the constraints of a piece of entertainment, wondering if he'll get away with his misdoings and never really be stopped.
2005's "Match Point," written and directed by Woody Allen, is an immersive study of one of those aforementioned excuses of a man, but less glorified are his immoral ways. As he's an everyman and not an elevated cinematic figure, we're riveted in regards to just how long he can maintain his narcissistic cool, how long he can continue on the path of a viper before he's caught and spat upon.
A morally tangled drama "Match Point" is, and, as the years go by, it seems to increasingly announce itself as being among Allen's most seminal works. Not because I like it as much as "Hannah and Her Sisters" or "Bullets Over Broadway," mind you, but because it betrays his usual comedic comfort zone in trade of seriousness only seen rarely in a career of humanistic, usually inviting gems. Over Allen's decades long career, we've seen him try his hand at the dramatic through such chamber pieces as 1978's "Interiors" and 2007's "Cassandra's Dream" (though I'm sure some would argue that his '80s masterpieces were oftentimes earnest, too), but "Match Point" marks (and still marks) the first time in which his touch isn't as blatantly obvious, his trademark humor having all but vanished.
It clearly touches upon themes discussed in his 1989 masterwork "Crimes and Misdemeanors," but with a cast mostly from the United Kingdom, and with dialogue more understated than neurotic, it's unlike anything Allen has ever done - further imposing is that he was seventy-years-old in 2005, an age where many filmmakers aren't so sure what to do with themselves anymore and therefore stoop to filler.
"Match Point" stars Jonathan Rhys Meyers as Chris Wilton, a small-time, London-based tennis coach reeling from rejection in the professional area of the sport. With most of his once promising career goals disintegrated, he is currently making a living teaching the rich how to be their very own Serena Williams. He's comfortable, but something, perhaps a purpose, is missing from his life.
A chance lesson with Tom Hewett (Matthew Goode), the son of a successful businessman (Brian Cox), prompts a fast friendship, introduction to the affluent family quick and painless. There's an attraction between Chris and Tom's sister, Chloe (Emily Mortimer). A flimsy courtship ensues, but not long after does Chris meet Tom's fiancee, Nola Rice (a spotless Scarlett Johansson), a sultry, blond American attempting to break into the acting industry. It's clear that Nola likes Chris more than she likes Tom, with Chris liking Nola more than he likes Chloe, but both, not wanting to incite any bad blood within the Hewett family, allow for magnetism to combust into a brief erotic encounter, nothing more.
Chris accepts that his affair with Nola is not meant to last, and so he marries Chloe, though we sense he's doing so out of the promise of comfort, not love. Days later, though, Tom breaks up with Nola; we can feel Chris recoil as he realizes that he could have had a chance with her had patience been a virtue of his being. But romantic hang-ups cannot be dwelled upon now that he's a newlywed. For now, he'll have to deal with Chloe, who almost immediately declares that she'd like to have a baby as soon as possible - she has nothing to lose. Chris doesn't feel so ready, but agrees to her wishes, the impregnation process quick to start but not so prosperous in longterm success.
So we'll call it bad luck when Nola comes back to the U.K. months later, running into Chris just as his frustrations with his wife begin to grow unbearable. An affair kicks off, but it's bound to have a similar ending to a cynical film noir. The life of the other woman is often a doomed one, after all.
But I won't say more, as some of "Match Point's" biggest pleasures derive from the way its storyline builds to a breaking point of horrendous unpredictability. It's a psychological thriller in which all characters act selfishly and questionably, their desires coming first in even the most baleful of situations. At first, Chris appears to be a typical male lead, but, as he later descends into detrimental behavior that suggests that he was born to be bad, our preconceived notions regarding his character are thrown away. Nola is a temptress that knows it, unafraid to push buttons; Chloe is a nice but otherwise spoiled rich girl who is distinctly aware of what she wants more than what she loves; and Tom, maybe the only individual in the film that doesn't reek of self-obsession, is so concerned with what others think of him that we sense that he doesn't know himself.
Such knotty characters are nothing new within Allen's filmography, but unfamiliar is overarching sexiness, dialogue that presents itself as slippery and noiry and not necessarily a reflection of Allen, and moral ambiguities that ring as much darker than anything he has ever offered. And to go out on a limb in the way Allen does with "Match Point" is nothing short of risky, all the more provoking considering his age and his iconhood. But a modern cinematic master can only make the most of the challenges inflicted upon himself, and "Match Point" is a subversion worthy of immediate viewing.
March 27, 2016
A bit of a departure for Woody Allen, and it's a great one.

A young, working-class coach at a prestigious tennis club, Chris Wilton (played by Jonathan Rhys Myers), forms a relationship with Chloe Hewett (Emily Mortimer), the sister of Tom Hewett (Matthew Goode), one of the members at the club. The Hewetts are very wealthy - their father owns a large company - and the relationship with Chloe should be Chris' ticket to the easy life.

However, he meets Tom's American fiance, Nola Rice (Scarlett Johansson), and is immediately smitten. Due to Nola being engaged to Tom, nothing really happens and Chris marries Chloe. Then Tom and Nola break off their engagement and Chris starts a relationship with Nola, with disastrous consequences...

A rare murder-drama from Woody Allen. His first of the genre and certainly his darkest movie. Quite a departure for him: while most renowned as a comedy writer-director, even his dramas of the past had a lightness to them. This is nothing like anything he has made before, or since, and is fantastic.

Great plot. A slow-burner that starts as a harmless relationship drama and gets darker and deadlier the further it goes. This is not to say that it is dull to start off: even before it ramps up it is a great character study.

Some excellent twists towards the end with a superb ending. Quite profound too.

Solid performances all round. Nobody puts a foot wrong. Emily Mortimer is a tad irritating as the mousy, clingy Chloe, but that is probably intentional on Woody Allen's part.
Page 1 of 453