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Whatever Works

Whatever Works

Comedy · Romance · 2009

Whatever Works explores the relationship between a crotchety misanthrope, Boris and a naïve, impressionable young runaway from the south, Melody. When Melody's uptight parents arrive in New York to rescue her, they are quickly drawn into wildly unexpected romantic entanglements. Everyone discovers that finding love is just a combination of lucky chance and appreciating the value of "whatever works."

Movie details

Whatever Works

“A new comedy!”

2009 Comedy · Romance 1h 32m

Critical arithmetic

One number, for now.

TMDB

7.1 / 10

Community rating

Whatever Works explores the relationship between a crotchety misanthrope, Boris and a naïve, impressionable young runaway from the south, Melody. When Melody's uptight parents arrive in New York to rescue her, they are quickly drawn into wildly unexpected romantic entanglements. Everyone discovers that finding love is just a combination of lucky chance and appreciating the value of "whatever works."

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Whatever Works?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Where it lives

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Names above the title

The people responsible.

Directed by

Woody Allen

Written by

Woody Allen

Larry David

Larry David

Boris Yellnikoff

Evan Rachel Wood

Evan Rachel Wood

Melodie St. Ann Celestine

Michael McKean

Michael McKean

Joe - Boris' Friend #3

Conleth Hill

Conleth Hill

Leo Brockman

Patricia Clarkson

Patricia Clarkson

Marietta

Ed Begley Jr.

Ed Begley Jr.

John

Carolyn McCormick

Carolyn McCormick

Jessica

Court is in session

Put Whatever Works on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Sentimental Softie

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Cool Ironist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.