| Orion Pictures | Release Date: July 16, 1982 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
2
Mixed:
10
Negative:
0
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Critic Reviews
Allen's version of Smiles of a Summer Night keeps the period country house setting but reduces the characters to six: two medical swingers, an elderly academic and his much younger fiancée, and a long-married couple whose sex-life has ground to a halt. His best invention remains his own screen persona, and the Bergman borrowings here provide it with a warm, romantic and old-fashioned setting.
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It's not Allen's best film, but fans of the Woodman should not resist. Whether it's the future of Sleeper or the turn-of-the- century of Sex Comedy, Allen plays the same character -- always bewildered, always sex-obsessed, always under-consummated. [23 July 1982, p.11]
Its light classical manner and its happyish ending. Whatever Mr. Allen is doing in constructing this pretty, slight, gently entertaining movie, he isn't doing the thing he does best. A Midsummer Night's Sex Comedy gives the impression of someone speaking fluently but formally in a language not his own.
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Woody Allen is among a very few people in the history of film who have provided audiences with really intelligent humor. But even Homer nods, and never has Allen more obviously fallen down on the job than in A Midsummer Night's Sex Comedy, a trifle that owes much to Ingmar Bergman in style and to Groucho Marx in content.
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A Midsummer Night's Sex Comedy promises to take off every so often, but the material proves too slight for buoyant fancy. [16 July 1982, p.C1]
If the title is half-familiar, the contents are wholly surprising. Happily, all of the bitterness is gone. Sadly, so has most of the humor. What remains is a conclusion startling but unmistakable - Woody Allen has grown bland. [16 July 1982]
It's ersatz classicism, in its inoffensive way as much a dead end as Stardust Memories. Allen seems to be biding his time, waiting for the "real" Woody Allen to figure out what a real Woody Allen movie will be. [19 July 1982, p.70]
Woody Allen is trying to please, but his heart isn't in it, and his talent isn't either. He is so much a man of our time that his comedy seems denatured in this classy, period setting
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