Is life fundamentally comic or tragic? This not-particularly-clever-or-interesting question is central to Woody Allen's 2004 joint, which tells the same story twice, in alternating "comic" and "tragic" strands, united by Radha Mitchell's central character. In the end, we learn that comedy and tragedy are not far apart - a principle Allen brilliantly illustrates by making the "comic" scenes no funnier than the "tragic" ones. We also learn that love is irrational and the heart wants what it wants - ideas that Allen's filmography has been been inordinately preoccupied with since about 1992, for some reason. Agonizingly boring from beginning to end, but I did like the production design. Lots of nice apartments, tastefully furnished. Allen was presumably too busy pondering the nature of comedy and tragedy to bother asking himself how all all these unemployed actors, filmmakers, and musicians can afford such spaces. The cast struggles with Allen's lumpy dialogue, and no chemistry is generated between any two people. Radha Mitchell works hard, but the magic isn't there. Will Ferrell is in a different movie from everyone else, and by default is the best thing here; I occasionally got a kick out of watching him do an SNL impression of Woody Allen.Contains a clip from Ulmer's The Black Cat and a very brief appearance by New Yorker jokesmith Andy Borowitz.Watched for a Vilmos Zsigmond episode of The Important Cinema Club, hilariously enough.














