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Manhattan

Manhattan

Comedy · Drama · Romance · 1979

Manhattan explores how the life of a middle-aged television writer dating a teenage girl is further complicated when he falls in love with his best friend's mistress.

Movie details

Manhattan

“Woody Allen's New Comedy Hit”

1979 Comedy · Drama · Romance 1h 36m

Critical arithmetic

One number, for now.

TMDB

7.7 / 10

Community rating

Manhattan explores how the life of a middle-aged television writer dating a teenage girl is further complicated when he falls in love with his best friend's mistress.

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 Manhattan?

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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Jungle Fever

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The Last Time I Saw Paris

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Reporter Charles Wills, in Paris to cover the end of World War II, falls for the beautiful Helen Ellswirth following a brief flirtation with her sister, Marion. After he and Helen marry, Charles pursues his novelistic ambition while supporting his new bride with a deadening job at a newspaper wire service. But when an old investment suddenly makes the family wealthy, their marriage begins to unravel — until a sudden tragedy changes everything.

Band Aid

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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 · Marshall Brickman

Woody Allen

Woody Allen

Isaac Davis

Diane Keaton

Diane Keaton

Mary Wilkie

Michael Murphy

Michael Murphy

Yale

Mariel Hemingway

Mariel Hemingway

Tracy

Meryl Streep

Meryl Streep

Jill

Anne Byrne Hoffman

Anne Byrne Hoffman

Emily

Karen Ludwig

Karen Ludwig

Connie

Court is in session

Put Manhattan on trial.

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

The defence The Prestige Tourist

“Sincerity is not manipulation.”

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

The prosecution The Popcorn Loyalist

“The strings are showing.”

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