I like the storyline of this show,it attract me so much

The story-telling is good with flashbacks.The film is both funny and heartbreaking. You smile in a scene and get a soulcrushing revelation in the next.

The film never slows down or bores, plunging from one harrowing sequence to the next.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Shadows and Fog, one of Woody Allen's best films, is a successful experiment in combining Kafka-like surrealism (Orson Welles' The Trial seems like a clear influence,) typical Allen neurotic comedy, and film noir. The film overcomes its influences to make a profound statement about the human predicament in a way that is not at all pretentious. Allen stars as Max Kleinman (Max = big, Kleinman = small person,) a skittish coward who is drafted by local vigilantes in a plan to catch a murderer (Lang's M is also a clear influence,) but ends up wandering around in a literal and existential fog complaining, "I can't find out my role in the plan." The excellent black and white photography is just right for the mood. The movie gains extra interest from a number of star cameos, including Madonna, Lily Tomlin, John Malkovich, and Jody Foster. I saw it on the adequate MGM Home Entertainment DVD; if there is a better Blu-Ray available, it would be worth looking for.

This so-called comedy is a rethinking of Woody Allen's own short play 'Death' (published in his 1976 collection 'Without Feathers'), transplanted to a weird, Kafka-like Middle European setting and mercilessly padded (at the expense of the humor) to allow room for several high profile guest stars, most of them in roles too small to be noticed. The effect is not unlike a student film parody of a Woody Allen comedy, following a hapless nebbish (who could only have been played by Allen himself) pressed into service by urban vigilantes hunting a shadowy killer. The familiar one-liners and stale meditations on God, sex, and death are all camouflaged behind some beautiful (if hokey) black and white photography, with transparent references to more than one film school idol: Bergman, Murnau, Fellini, and so forth. What's left is the novelty of seeing Kathy Bates playing a prostitute alongside Lilly Tomlin and Jodie Foster, and John Malkovich cast as a circus clown opposite Madonna. It wasn't meant this way, but the casting is the funniest thing about the movie.

Many reviewer invoke "The Trial" when talking about this film. It also has a little bit of "The Lady Vanishes," Hitchcock's film. Suffice it to say, it's about an everyman (as much as Woody Allen's mensch can be an everyman) who finds himself in the middle of a series of serial killings. He is expected to do something about them, but no-one can tell him what to do. They don't even show up in the places they are supposed to and he is left holding the bag. There are encounters with circus people and prostitutes (Fellini) and a host of locals who are determined to punish the unknown killer. Of course, the protagonist eventually falls under suspicion. In these absurdist, existential motifs, Allen works pretty well. The criticism I have of it is that it doesn't have the tautness of the Anthony Perkins film. It wanders about so much and, hence, we lose an identification with Allen's character. When it was over, it left me cold and unfulfilled.

Another mid-career Allen film unfairly dismissed both by critics and (I must admit) myself at the time of it's release. Sometimes with great filmmakers, we get spoiled and anything flawed or less than pure genius gets maligned for being weaker than that filmmaker's very best work instead of being appreciated for being miles ahead of most of the films that get made.I was shocked at how much better I liked this on a recent re-viewing almost 20 years after seeing it in the theater. Yes, the super-star cameos still seem a bit distracting and self-serving, but nowhere near as much as in 1992. Yes, some plot elements work better than others, the ending is kind of clunky, etc. But this is still a great-looking, visually dense film, that manages to tread (most of the time) a very difficult tightrope of being funny and playful, while still exploring disturbing themes of paranoia, guilt, crowd mentality, religion, etc. Certainly not a great film, but a brave one more worthy of being enjoyed for it's strengths than attacked for its admitted shortcomings.