Be it whispers of personal scandal or the weight of matching his previous billing as a comedic god, Woody Allen has had a rough decade. Each of his movies are immediately criticized for not being Annie Hall, or better. This year appears to be no different. While last year’s Vicki Cristina Barcelona did earn Oscar recognition, Whatever Works is unlikely to do the same. Its darkly comedic script is hindered by feelings of over familiarity.

It is Allen’s first New York film in five years, and it tells the tale of Boris Yellnikoff (Larry David), a New York malcontent, perpetually annoyed by the ignorance of those around him, who decides to shun his upper class life for a bohemian existence. After life as a Columbia professor who nearly wins the Nobel prize, he still struggles to find happiness, but is convinced of his own genius. He demonstrates this by his ability to talk to the camera, which Ferris Bueller accomplished to greater effect 20 years ago. 

His life is interupted by Melodie St. Ann Celestine (Evan Rachel Wood), a runaway southern belle who is 40 years younger than Boris, but still manages to develop a crush on him. While Boris’ pessimistic world view is played for laughs, Melodie’s ignorance is sold as charm. While the dialogue is snappy and the acting is well played, it all feels as if it’s been done before. The twist is the age difference, which is handled well, so those worried about prolonged make-out sessions between David and Wood need not fret. Instead, we get Boris expounding on the worthlessness of everything that surrounds him, and Melodie’s own interpretation of those thoughts. 

We learn exactly why Melodie ran away when her bible-thumping parents show up in New York, played well by Julia Clarkson and Ed Begley Jr. The characters avoid outright stereotype, but their fates are predicted the moment they walk on screen.

The humour is dark, but at times predictable. Nihilistic world views and the berating of children are played for laughs, and David handles the scenes well. He’s convincing as the Allen stand-in, and the match works well. Despite his grouchiness, David ensures we still care for his character, although like his friends, we’re never entirely sure why. Wood handles her character well, however there is still an unbelievable aspect with the pairing. Considering the summer’s movies have been full of alien encounters and giant fighting robots, perhaps this criticism is unfair.

Eventually the movie slips into cliche encounters and the Allen sex farce formula takes shape in the third act. While the theme of Whatever Works is played out, the predictability of the unpredictable ultimately damages the film.

(The Fitzhugh will be reviewing selections by the Jasper Film club throughout the year.)