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Critics Consensus: Mighty Aphrodite may not stand with Woody Allen's finest work, but it's brought to vivid life by a thoroughly winsome performance from Mira Sorvino.
Critic Consensus: Mighty Aphrodite may not stand with Woody Allen's finest work, but it's brought to vivid life by a thoroughly winsome performance from Mira Sorvino.
All Critics (35) | Top Critics (7) | Fresh (27) | Rotten (8) | DVD (1)
Were Mira Sorvino's all-redeeming, possibly best- list-bound performance to melt away, it would immediately be obvious how malnourished this amiably minor effort is.
A minor comedy in Allen's work, though Mia Sorvino, who won an Oscar, shines as the prostitute, despite the director's condescending
'Mighty Aphrodite' only occasionally sparkles with witty dialogue reminiscent of Allen's earlier films, and that's not enough to resurrect the old Woody Allen magic.
Surprisingly sweet Allen entry brought to life by Mira Sorvino.
brilliant
Same ol' Woody, though not as effective as some of his past work.
Good, but not great Woody Allen.
One of Woody Allen's best.
One of the best Woody Allen films from this decade. A very funny movie that made Mira Sorvino a star.
Better than average woody Allen movie. Like Mira Sorvino in this one. Didn't like the Greek chanters. Made no sense at all and no point them being there.
Super Reviewer
"Of all human weaknesses, obsession is the most dangerous, and the silliest!" When he discovers his adopted son is a genius, a New York sportswriter seeks out the boy's birth mother: a prostitute.
Odd, like all of Woody's films. It was alright and kind of funny though.
I think I enjoyed this a little more than I should have: it kind of skirts the heavier issues and makes the central plot point - tracking down your adopted child's birth mother - awfully light, and it's a little on the corny side in places... Mira Sorvino, for example, is over the top, and Michael Rappaport is... well, Michael Rappaport. Nevertheless, the ironically used Greek chorus and the framing of the main characters' quest in terms of the Oedipus plot should go down as one of Allen's cleverest devices, and though Woody Allen was basically playing himself (as he always does), he yet again inserted himself into a story crazy enough for his "character" (persona, more precisely?) to be believable.
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