Very very predictable, including the post credit scene !!!

That was an excellent one.

I don't have all the words right now but this film is a work of art.

Clever, believable, and super fun to watch. It totally has replay value.

Every now and then for the last couple of decades I have taken the occasional look at a Woody Allen film (with as open a mind as I can muster) in an attempt to work out what it is that people seem to adore about him so much. Having just read an extended magazine interview with the man in which he came over as a genuinely likeable human being I thought I was in a good place to have another go at finding what 'it' is.Whatever it is I didn't see it here. You would have thought with a title like 'A Midsummer Night's Sex Comedy' there would have been some sex or comedy in it. Apart from one throwaway line line delivered near the end of the thing which was genuinely funny - more for the delivery rather than the content - the film didn't raise a smile! And the sex was endless talk about off- screen activity and a couple of 'humorous' on-screen sub Benny Hill fumbles.I remember hearing an interview with Jack Lemmon, many years ago, in which he said that when Billy Wilder was directing him in a scene in 'Some Like it Hot' Wilder gave him a pair of maracas to hold, and told him to shake them after Tony Curtis said his line and stop before he delivered his own. Lemmon was perplexed. The scene's dialogue was a snappy and rapidfire to and fro interchange. The maraca shaking would slow it down to a crawl. But Wilder was the director and Lemmon did what he was told. When Lemmon saw the film with an audience he understood. Curtis' s line were funny. So were Lemmons'. If Lemmon had come in with his line as soon as his actor's instincts told him to, the audience would not have heard it because they were still laughing at Curtis's previous line. His line would have been lost. Curtis's next line would make no sense... and the scene would have collapsed like a house of cards. Wilder knew where the laughs were and built space into his direction to let the audience enjoy them. Allen doesn't leave any space for the audience. We're not given any space to get the' jokes' (such as they are) because there's always someone talking straight after them. What they are saying is usually inane piffle and by the time you've registered that what they are saying is of little consequence and not a zinging comeback (if was generous I could concede that a lot of the inconsequential dialogue here is Allen's carefully crafted, verbal equivalent of maraca shaking) any humour in the 'joke' that just went past has evaporated.The less said about Allen's helpless, "oh look at me,I'm so clumsy" shtick the better.I'll give it a couple of years and have another go and seeing what the Allen cultist adore so much.

A Midsummer Night's Sex Comedy takes a bit of time to get into(though you can sort of say the same thing about Smiles of a Summer Night, a Bergman masterpieces, and A Midsummer Night's Dream, one of Shakespeare's best-known plays for a reason), and while it is not one of Woody Allen's absolute best it is still a great film and one of his most overlooked(fairly accessible too). While not as gorgeous-looking as Manhattan for example, A Midsummer Night's Sex Comedy is beautifully filmed, in keeping with the whimsical tone the film has and the scenery is magical with lots of character and colour as well as a real fantasy vibe. The music is fabulous, no big surprises there as it is Mendelssohn, not only that but the music fits absolutely perfectly, as soon as I saw this title Mendelssohn's music immediately came to mind. The script mayn't be one of his most sophisticated or quotable, that shouldn't be expected though because the dialogue is still very funny with a chockfull of witty and snappy lines that has Allen's writing all over, and all done in a subtle and slightly endearingly silly way. The story is one of the most whimsical and charming of any Woody Allen film(very light in tone as well), while maintaining a good amount of realism. The characters are well-written, not the most likable but a long way from detestable as well. The performances from all 6 of the lead ensemble are just great, especially from a hilarious and suave Tony Roberts and Mary Steenburgen. Woody Allen has some fine comic moments too, Jose Ferrer relishes some of the film's best lines, Julie Haggerty is charming and always amuses and Mia Farrow does show some ease in comedy despite it being different to what she's known for(I don't think she deserved that Razzie nomination). The chemistry between all 6 is believable. So overall, a great and overlooked film. 9/10 Bethany Cox

I think one of the elements that stand out in A MIDSUMMER NIGHT'S SEX COMEDY is the performance of Tony Roberts. Who is Roberts? Frankly, when I watched this one for the very first a couple of weeks ago I didn't really recall him (and I should had, as I had seen already three of his six collaborations with Allen – ANNIE HALL, HANNAH AND HER SISTERS and RADIO DAYS). But a week ago, when I finally watched ANNIE HALL for the second time, I gladly recognized this bearded guy immediately; and my girlfriend told me that he was a regular in Allen's cast (usually playing Allen's friend). Maybe I change my mind when I finally check out his other collaborations with Allen (or when I re-watch "Hannah" or "Radio"), but today I'm going to say that this is his most memorable performance in a Woody Allen film. He's quite hilarious, hell, in "Annie" he does basically nothing but here he plays a role as important as Allen's or any of the other four main actors: Mia Farrow, Jose Ferrer, Julie Hagerty and Mary Steenburgen.It's an unusual setting for Allen; I guess you already know that, as is the thing everybody know about "Midsummer". Six actors in the country… but here we have the Allen of always. There's even a funny element that, if you're like me, will remind you one of his first features: SLEEPER! And it's kind of hard to think that this was the first time for another regular for Allen: Mia Farrow (I just read that her role was originally written for Diane Keaton!). Certainly, I saw this as yet another collaboration between them.But don't get me wrong; "Midsummer" is a REAL WINNER in my book. It's a quite hilarious, quite entertaining relationships picture. And with some special effects! By the way, I just found out about the relation between this film and Ingmar Bergman's SMILES OF A SUMMER NIGHT. Can't wait to check that one!*Watched it on February 04, 2012

The beginning of the twentieth century saw the birth of philosophical movements that have since dominated Western thinking: phenomenological existentialism and analytic philosophy. Woody Allen's concerns have always been most identified with the former, which has its roots in European thought, though the latter has been the predominant approach even during periods when the existential approach became particularly popular among the artistic community.Wisely, he combines the realities and spiritual fantasies of sex and love in this story of sexual escapades in the form of some geometric shape. As in many of his other films, he exemplifies the dichotomy between society and the rest of existence, in this case taking place at a time when technology was still in its infancy, so that we can see more clearly the roots of the schism, and clipping a few laughs Woody would never in his life pass up, involving his signature nebbishy caricature, an inventor here, peddling a bicycle with propellers on the top, or trying to core an apple or debone a fish with some ridiculous contraption. However, aside from these brief scenes, the movie is hardly a screwball farce. It has an airy sense of tongue-in-cheekness but that airiness results more in a head in the clouds. Woody's character's most important invention, a spirit ball, seems to generate an actual connection to an abstract metaphysical realm of the supernatural.He makes a living as a Wall Street stockbroker, yet we see him exploring the conceptual otherworldly realm. He lives in New York City, but he owns a house in the country to which he escapes with his wife in the summer. He is also inwardly at odds his sexual passions. He is torn between his feelings for his wife, whom he loves, and his libidinous desire to regain his lost opportunity with Mia Farrow's character.Despite this being one of Woody's more light-hearted efforts, he definitely explores some of the most universal themes he's ever analyzed in his body of work, like lost opportunities, perfect moments, the victory of romantic ideals over real life enactments of them. The memory's yearning for second chances drives the farce. All of the characters struggle clumsily to seize the clock in assorted ways, from the use of a camera to Woody's spirit box, an attempt to encapsulate the world's theoretical energies that in a way mirrors an early movie contraption.Where most of Woody's films chronicle the seriocomic moral evolution of his characters, those in this light and accessible little outing by the characteristically comforting Woody seem to increase their needs for indulgence in a portrayal of their intellectual emptiness and intemperance. What would've made the movie less accessible but doubly interesting would be a soundtrack entirely comprised of the Red Hot Chili Peppers album Blood Sugar Sex Magik. On a purely logical level, it fits.