Rating: 
Summary: Best,most bittersweet comedy of all time.
Review: In the classic comedy "Annie Hall" Woody Allen plays the autobiographical Alvy Singer, a neurotic comedian (see) who has planted himself firmly in New York and it's ideals. His love intrest is Annie Hall, an adventurous, independent woman, played by Diane Keaton. Playing out more like a thoughtfull novel than a comedy, this movie sweeps the watcher into the many aspects of modern relationships. Although they have totally differant views on everything they still get along up until the very end. In on scene, Annie wants to buy a book about cats, but Alvy in all his bright optimism persuades her to get the book "Death in Venice." Alvy grew up under a roller coaster on Coney Island, which, as he says "may contribute to my behavior." His family is a classic Jewish movie family. Annie on the other hand grew up in a nice midwestern town with her nice midwestern family. I recomend this movie for anybody with half a brain cell.
Rating: 
Summary: Woody - what more can you say?
Review: A classic movie by a truly talented actor and writer. He's an inspiration, at least professionally.
Rating:
Summary: Hilarious and Sweet
Review: Remember when Woody Allen made good films? Well, you can't find a better example of his cinematic genius than in Annie Hall. The movie is full of biting satire and Allen's trademark witicisms. Nothing is sacred, relationships, religions, minorities, drugs, actors, singers, Hollywood, New York, books, and the plastic 70's are ripped apart by the endearing comedic razor in Allen's nervous mind. Allen uses some clever film techniques to move the movie beyond the conventional comedic-love story and into the realm of the classic. Along with Allen, Diane Keaton delivers a great performance. The short minute that Christopher Walken graces the screen is very enjoyable, to say the least. In the middle of the comedy, Allen manages to create a very believable and sweet romance, between him and Keaton. Allen's best movie, in my humble opinion.
Rating:
Summary: Almost Too Good To Review.
Review: This is such a tremendous film, I almost feel it is unreviewable.
It is definetely Woody's Sgt. Pepper. Very, very funny. Very,very romantic. What more can you ask of a romantic comedy? Keaton won the Oscar & deserved it, in spite of the fact that she had such tremendous competiton that great cinematic,(1977) year. If you've never seen it, you're in for such a treat. Definetely worth buying as it's a film you can & WILL watch over & over again...enjoying it differently every time. It HAS dated, but that adds to it's charm.
Rating:
Summary: Quintessential Woody.
Review: *Annie Hall* is a movie that a critic could love. Its hero, Alvy Singer (Allen), though apparently a professional comedian, is really more of a 24-hour, 7-days-a-week critic of everything he encounters: the Seventies drug culture, pretentious loudmouths, Los Angeles, WASPs from the Midwest, anti-Semites, Bob Dylan, aging hippies, and -- most important for getting on film critics' good side -- himself. (The constant cinematic references, such as *Snow White*, Fellini, Bergman, *The Sorrow and the Pity*, et al., also endear Allen to the critics . . . and to the overall movie-lover, as well.) In and around all this, the film tells the story of a mismatched relationship between neurotic, intellectual New Yorker Alvy and Wisconsin transplant Annie Hall (Diane Keaton, in an excellent performance). The details of the relationship are delineated with aching realism: the tentative getting-to-know-you stage, the petulant break-ups, the warm making-ups, the mundanities (like getting rid of spiders in bathtubs), the arguments, the hilarious private moments that can't be repeated with anyone else (like their attempt to cook some lobsters), the boredom, and finally the wearing-out of the whole thing. This is all superbly done . . . but even better are Allen's incessant, razor-sharp wisecracks that put the America of 1977 firmly in its self-obsessed place. For instance, his take on the Studio 54 culture that was happening in New York is summed up in a sneeze . . . that blows thousands of dollars of cocaine airily away. The West Coast nonsense is perhaps best captured in the snapshot scene of Jeff Goldblum on the phone: "I forgot my mantra." And Allen's jokes about turning right at a red light in California, and masturbation being sex with someone he loves, have permanently entered our language. Instead of dating the film, these observations make it more of a humorous time-capsule full of the detritus of a silly era. The restlessly inventive narrative structure that uses split-screen, flashbacks, scenes that have one character as both child and adult at the same time, even animation, is gravy on your mashed potatoes.
Rating:
Summary: I do not like WA but Annie Hall a must see
Review: I do not like WA but Annie Hall a must see. This is a good movie that details the trails and tribulations of a New York intellectual that just doesn't get it.
Rating:
Summary: Paradoxical, Lighthearted Flick
Review: Woody Allen begins "Annie Hall" (named for the title character, played by the inimitable Diane Keaton) with a speech in which he relates to the audience his attitude about romantic relationships (gleaned from either Sigmund Freud or Groucho Marx): "I'd never belong to any club that'd have me as a member." Enter the somewhat giddy Annie, a somewhat sophisticated, somewhat naive transplant from the midwestern hinterlands. Annie and Alvy Singer (Allen's character) soon fall in lust, and the movie explores what happens when the sex and novelty of the relationship wear off. Alvy soon displays the stock trait of Allen's persona: Neurotic perfectionism. Very set in his ways, he becomes frazzled when Annie (and in flashbacks) the other women in his life venture outside the rigid routines Alvy has set in stone. Another paradox that manifests itself is Allen's classic disdain for political conservatives (targets of his ire are Eisenhower, William F. Buckley and Commentary magazine). Yet, Alvy is a very *socially* conservative person, who looks down on drug use, rock music and the religious cult fads that characterized the 70s. A great line from the movie is when Jeff Goldblum -- at a pretentious Hollywood party -- calls his guru to get the latest mantra. Another gem is Christopher Walken's small role as Annie's brother, which will have you howling once Alvy is riding in his car. Like it's twin, "Manhattan," "Annie Hall" is a love-letter to New York City (not just Manhattan, but to Brooklyn as well, where we visit Alvy's unique childhood home on Coney Island). But, I prefer this one to "Manhattan," because of its fresh concept, more screen time for Diane Keaton and Allen's "I Hate L.A." scenes.
Rating: 
Summary: More like an extended T.V. show
Review: Maybe I'm too used to seening episodes of 'Seinfeld', 'Friends', and other modern sitcoms, but 'Annie Hall' felt like one of those T.V. shows, just extended. Although some scenes are very funny, most of the movie is not. Woody Allen and Diane Keaton look uneven as a couple and I didn't see what the point of the film was. At the same time, I didn't believe in their relationship. I wasn't convinced of their attraction toward each other so it was even harder to feel sympathy for Allen's character. Many times throughout, I felt like I was watching a pointless film. Allen has a free spirit tone, but his nervous and shaky character became old and annoying fast. Maybe I'm not easily amused, but then again, maybe 'Annie Hall' isn't all that funny.
Rating:
Summary: "Richly rewarding, charming, and witty ."
Review: While, for me, "Manhattan" remains the quintessential Allen, "Annie Hall" is still one of American cinema's most richly rewarding, charming, and witty motion pictures and a superior examination of the modern relationship. A turning point not only for Allen, but for movies in general. With this, Allen goes beyond the zany humor of his earlier films and creates something more intellectually stimulating. Something more modern, something more true, and every bit as entertaining and funny. Allen's artistic maturity would not reach its peek until "Manhattan", but "Annie Hall" really turned everyone's heads, and would go on to win Oscars for Best Picture, and Best Actress for Diane Keaton, who is outstanding as Allen's girlfriend. "Annie Hall" is one of the most brilliantly bittersweet romances ever to grace the screen. Kudos Woody!
Rating:
Summary: How could he have mis-read those signs?
Review: A true work of genius. Even by Allen's own standards, this movie is a classic. So few films have Maximum Initial Impact, in that they fail to deliver maximum enjoyment on one's first viewing. While Annie Hall certainly bears considerable repeated viewing, it is simply stunning first time through. Apart from the brilliant dialogue and character depth, it contains so many all-too-human touches. I loved the part on the first date when he asks Annie if he can kiss her before they start, just to take away the tension of will-they won't-they kiss, so that they may more easily relax and enjoy their first time out. As a fairly linear romantic comedy, it is unsurpassed, yet there are also many surrealistic elements which give it a quality that one usually associates with European movies. Woody Allen shoehorned so many brilliant and original ideas into Annie Hall that it is staggering to recall that they were all from the same movie. Everything from the Jew-hating grandmother to the kids in his class telling the camera what they ended up as in adult life, serve to keep you off balance, so that you never slide into a "well I can see what's coming up next" state of complacency. Allen is a master when it comes to relationships and human failings (and strengths) and his hilarious handling of sexual interactions - "I'm just trying to work some circulation back into my jaw" - makes this one of those rare movies in which virtually everybody can find something to make you squirm and say, "Oh man, he's right". Annie Hall is classy, it's beautiful, it is full of love, wisdom and compassion, and above all it is utterly hilarious. A breathtaking work of genius (repetition on "genius", there) from a man who has no equal in the film industry.
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