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Midnight in Paris

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Spain, United States, France · 2011
Rated PG-13 · 1h 34m
Director Woody Allen
Starring Owen Wilson, Rachel McAdams, Kurt Fuller, Mimi Kennedy
Genre Comedy, Fantasy, Romance

Gil and Inez are in love, but their future plans don’t align. Gil is an aspiring novelist dreaming of living in France, but Inez wants to live in an upper-class suburban neighborhood. One midnight in Paris, Gil is taken back in time to meet his beloved Jazz Age icons, which makes him question his future.

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What are people saying?

Ting Shing Koh Profile picture for Ting Shing Koh

Who wouldn't want to wander through the city of love at night? As Gil meets wondrous figures of the past, navigating through the streets of Paris on his fantastical journey, I felt as if I was tagging along on the thrilling ride, unsure what the next night will hold. An intriguing concept plus beautiful cinematography, an absolute delight!

Teddy Pierce Profile picture for Teddy Pierce

In interesting concept full of romanticism, but ruined, for me, by the fact that the 1920s writers and painters Owen Wilson's character, Gil, meets feel less like fully fleshed out characters, and more like cliches. Hemingway, for example, is an annoying braggart who speaks like a bad imitation of a Hemingway character with a bad imitation of his dialogue. He does nothing but challenge people to fights and spout off lines about courage and truth and grace under pressure.

What are critics saying?


Village Voice by

The latest in a long line of actors playing a "Woody Allen type" in a Woody Allen film, Wilson bends his own recognizably nasal Texan drawl into an exaggerated pattern of staccatos and glissandos that's obviously modeled on the writer/director's near-musical verbal cadences.


Salon by Andrew O'Hehir

Allen seems to be paying attention in a way he hasn't always done in recent films, and has found a way to channel his often-caustic misanthropy, half-comic fear of death and anti-American bitterness into agreeable comic whimsy.


The New Yorker by David Denby

Midnight has one big problem: Allen hardly gives Gil a perceptive moment. He's awestruck and fumbling - he doesn't possess, to our eyes, the conviction of a writer. But who knows? He's young.


New York Magazine (Vulture) by David Edelstein

This supernatural comedy isn't just Allen's best film in more than a decade; it's the only one that manages to rise above its tidy parable structure and be easy, graceful, and glancingly funny, as if buoyed by its befuddled hero's enchantment.


Observer by Rex Reed

In a film so ripe with temptations for posturing, exaggeration and satirical overacting, nobody is anything less than natural, unpretentious and funny as hell.


The Hollywood Reporter by Todd McCarthy

Darius Khondji's cinematography evokes to the hilt the gorgeously inviting Paris of so many people's imaginations (while conveniently ignoring the rest), and the film has the concision and snappy pace of Allen's best work.

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