Python Hyena Everyone Says I Love You (1996): Dir: Woody Allen / Cast: Woody Allen, Goldie Hawn, Julia Roberts, Alan Alda, Tim Roth: Exquisite musical comedy that remembers when musicals were popular entertainment. The characters express themselves fully by lyrics. Several subplots all evolve around the trials within one family. An engaged couple express love through song before she accidentally swallows the engagement ring buried in her dessert. Her mother is played by Goldie Hawn who wishes to create better lifestyles for prison inmates. Woody Allen plays her ex-husband who seeks advice from his daughter on how to win the affection of a married Julia Roberts. She fills him in after listening in on her therapy sessions. Ranks among Allen's best works, which includes Manhattan Murder Mystery and Mighty Aphrodite. Great ensemble cast engages in witty comic dialogue and many inspired moments. Despite a few unnecessary music numbers Allen proves to understand the musical era delivering an outstanding scene where he engages Hawn and her body drifts aimlessly. Alan Alda plays Hawn's current husband who always seems to be sick. Roberts is superb as the object of desire who must make a big decision. Tim Roth is hilarious as a convict invited by Hawn into her home. It ranks among the best of musicals rendering it a film everyone should love. Score: 9 / 10

KineticSeoul Now I did like the old school style direction when it came to this musical. And the musical numbers is good and even cute in some cases. But despite how it tries to go in that sweet and meaningful direction of it all, it just didn't work all together. This has multiple different subplots going but it just wasn't all that effective. Even if it does kinda tie together in the end for the most part. With Woody Allen's character story as the primary. Although I didn't really watch this for Woody Allen but for Edward Norton, who is almost impossible to dislike. This just wasn't all that absorbing despite it trying to be sweet and charming, I just didn't fall for it. The plot is about characters trying to find there path, which revolves around love, sex, fantasies, politics, enjoying life, Christian and atheist views. It even tries to be witty and edgy but wasn't feeling it. Like I said it does tie together in the end but not all that well. Fans of Woody Allen might like this film, it does have a lot of his trademarks in this. Woody Allen put a lot of ideas into this movie, but everything just seemed so rushed and poorly developed. It seem to lack heart and goes more towards opinionated life views, which isn't even all that deep. Edward Norton is always cool though. And the musical number and choreography is good but also forgettable. This movie is about a hour and a half long but felt longer. It's disappointing since this has a good cast.3.6/10

leplatypus I'm not a fan of Woody. Among 325 movies i watched so far, only one comes from him and it was terribly dull. Beyond, i don't like the buzz heard each year about his new movie because he seems to be a industrial brand. However, Stephen King who faces the same critic has a good answer : if they can release so much, it's because they work the same. Nevertheless, i couldn't stand also that his movies star the most talked actress of the moment. But there, he has himself the perfect answer: he paid them. Finally, I picked up this movie because Natalie plays in it, and i must say this was an excellent moment.The movie is split between three romantic cities (New York, Paris and Venise) and the choice for a daily diary is always interesting. Woody is really funny here as an anguished but sweet father (i was one day compared to him for that). His romance with Julia is depicted with truth. Natalie and her big family are attaching. As the movie is a musical, I suppose i have to speak my opinion about it. For me, the songs and dance suck because they are not classic tunes (at last for me)and they just stop the story. However, the ballet at the Seine banks is poetic.In conclusion, if this wealthy family is faraway of most people life, they form a united one and they bring us an happy moment.

ackstasis Why do characters in musicals suddenly and inexplicably break into song? Musical numbers are an emotional outlet for a film's characters, a means to express joys, sorrows, and yearnings that would otherwise be unarticulated. This is an outlet that, regrettably, is rarely available to ordinary people in the ordinary world. What Woody Allen does here is to bring the cinematic principles of the musical within the grasp of everyday characters – that is, people like you and me. Allen chose his actors precisely for their lack of singing and dancing ability, and on one occasion reportedly asked Goldie Hawn to "sing worse." If the musical numbers are clumsy and awkward, then I suppose that's part of their charm; Allen shoots most of his scenes in one or two takes, deliberately minimising the extent to which he is able to manipulate the quality of the performances. Nowadays, the one-take musical number is an oddity, and here it draws attention to the performers' weaknesses, but recall that this is how Astaire and Rogers were always filmed, lovingly and always with full attention on the dancers themselves.'Everyone Says I Love You (1996)' is a lighthearted romantic romp, a weaving of love stories connected by a single New York household. Edward Norton and Drew Barrymore are a lovestruck couple whose engagement is thrown into turmoil by the arrival of a sleazy ex-con (Tim Roth). Natasha Lyonne is a precocious teenager, attracted to a succession of random men, who tries to help her father (Allen) score a girlfriend by relaying a woman's (Julia Roberts) confidential psychiatric confessions. Not surprisingly, Allen's subplot is the strongest, bittersweet and heartfelt, and his final, melancholy dance with ex-wife Steffi (Goldie Hawn) carries all the sorrow and lamenting of Fred and Ginger's "Never Gonna Dance" number in 'Swing Time (1936)' {and does so even with Hawn's slightly bizarre gravity-defying antics}. On a lighter note, I also loved the Dandridge son (played by Lukas Haas), whose fiercely-Republican political convictions are explained away by a medical condition that was limiting the supply of oxygen to his brain.