Reviews provided by RottenTomatoes
Midnight in Paris is a loving embrace of the city, of art and of life itself.
Rather surprisingly... Midnight is an absolutely terrific film, fleet and brisk and as charming as it wants to be.
New York Times:
It is marvelously romantic, even though - or precisely because - it acknowledges the disappointment that shadows every genuine expression of romanticism.
This is prime Woody Allen -- insightful, philosophical and very funny.
New York Magazine/Vulture:
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.
Wall Street Journal:
In Woody Allen's beguiling and then bedazzling new comedy, nostalgia isn't at all what it used to be -- it's smarter, sweeter, fizzier and ever so much funnier.
It makes us happily remember the movies we thought Allen wasn't able to make anymore, even while the filmmaker reaches into the past to add one more great one to the list.
Pure Woody Allen. Which is not to say great or even good Woody, but a distillation of the filmmaker's passions and crotchets, and of his tendency to pass draconian judgment on characters the audience is not supposed to like.
Entertaining enough, but unmistakably the work of a later, lesser era.
A delicious trifle for anyone who has ever dreamt of bantering about the cinema with Luis Bunuel or lounging at the piano to hear Cole Porter sing "Let's Do It."
Woody Allen has found the right time and the right place with "Midnight in Paris," his lightest, funniest and most-satisfying movie in a long time.
J. R. Jones,
I find this upfront fantasy to be his funniest, most agreeable comedy in years.
Christian Science Monitor:
Sweet, not altogether satisfying variation on the fantasy-becomes-reality conceit he used in his Depression-era The Purple Rose of Cairo.
Dallas Morning News:
Woody Allen's beleaguered heroes have never been reluctant to indulge in a little fantasy to get what they want.
Midnight in Paris is charming and clever, at times wickedly astute and hopeful.
Having sampled London and Barcelona in recent films, Woody Allen continues his grand tour of European cities with Midnight in Paris, an ingratiating, tourist-oriented exercise in nostalgia for a city that doesn't exist.
Sweet, sentimental, and vibrant, Woody Allen's "Midnight in Paris" rightfully points out that yesterday's frolicking bar might be today's laundry mat ... but we can always visit the good times in our memories.
Los Angeles Times:
Here's a sentence I never thought I'd write again: Woody Allen has made a wonderful new picture, "Midnight in Paris," and it's his best, most enjoyable work in years.
Midnight in Paris is a terrific picture -- an appealing, bubbly, intelligent fantasy made by a director in an unusually playful mood.
As a conceit, the visit with literary celebrities may be thin, and the episodes are brief and sketchy, but wish fulfillment is part of the movie's charm.
Allen's new "Midnight in Paris" is a lot like his earlier, funnier movies. And it's far and away his sunniest effort since "Mighty Aphrodite."
A sweet and lively story, and a nicely packaged new outing from a past master who has done little more than repeat himself for at least two decades.
New York Post:
Though it never ventures past the tourist quarters of Paris, this is one of Woody's most handsomely photographed movies.
New York Observer:
In a film so ripe with temptations for posturing, exaggeration and satirical overacting, nobody is anything less than natural, unpretentious and funny as hell.
There is breezy comedy to be made of a YouTube-age writer meeting the icons and idols of a bygone, classical era, but Allen goes deeper, expanding on his time-travel device to make unexpected and unexpectedly generous observations.
What's Wilson doing in a Woody Allen movie about a B-list screenwriter who time-travels from the present to the Jazz Age? Disarming the audience with his wistful joie de vivre, that's what.
It's an entertaining trifle that is at least as engaging as, and perhaps more likeable than, a majority of the filmmaker's recent excursions.
As a filmmaker, Allen has grappled with the temptations of repeating himself instead of forging a fresh path. You can feel that conflict here, and watching him work it out is exhilarating.
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.
A huge part of the charm of Midnight in Paris derives from the finely calibrated casting, long one of Allen's superpowers as a director.
Globe and Mail:
Our hero has found his groove among the Lost Generation and, for us, there's some amusement to be had in sharing Gil's thrills -- it's like stepping into a Classic Comics version of A Moveable Feast.
It succeeds because Allen's muse is completely activated, unlike last year's time-waster You Will Meet a Tall Dark Stranger, in which thought ran no deeper than the title joke.
Midnight in Paris is as light as a souffle, and almost as sweet.
Like a swoony lost chapter from Paris, je t'aime agreeably extended to feature length.
A deceptively light time-travel romance, Midnight in Paris uses fairy-tale devices as a way to get to the filmmaker's familiar, real-life-sourced themes.
"Midnight in Paris" finds Allen in a larky, slightly tart and altogether bountiful mood, giving filmgoers a movie that, while unabashedly funny and playful, provides a profiterole or two for thought.