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

Very interesting film. Was caught on the premise when seeing the trailer but unsure as to what the outcome would be for the showing. As it turns out, it was a very good film.

A film with more than the usual spoiler issues. Talking about it in any detail feels akin to handing you a gift-wrapped present and saying, "I hope you like it -- It's a thriller about a diabolical secret experiment."

A great movie, one of the best of this year. There was a bit of confusion at one point in the plot, but nothing serious.

i knew it was a Woody Allen's! very comic very tragic. i don't have much to say about it but i loved the story, and Radha Mitchell's performances were outstanding, how could she be so fresh and joyful while trying to straighten up her life in one part, and how could she just turn it all around to this miserable Melinda version, while both of the Melinda's were seeking the same thing, it's up to the viewer to see if it was comic or tragic... i loved some symbols, very simple, i don't think that most of the people noticed but, the lamp, the HARD scotch, the straight hair and the curly one, the cigarettes, the horse race, how there are some similarities between both of the stories in the plot and/or the sequence, i believe it's an and though.. i noticed one more thing, the camera rolling, and the colors, in the tragic one, it's all dark even if there were some colors, in the comic it was colorful even if there was black.. and of course, they have the same story, but one of them makes you depressed and the other makes you laugh, ugh, i had a hard time converting emotions, it's really hard for the viewer to wipe his tears off to laugh then comes back to tears, and having to put up with Will Ferrell's so called humor, i hated his performance so much.

It's been a while since I watched a Woody Allen film and it'll be a while longer before I watch another, at least from his more recent work, based on my experience here. I was half-interested in the tragi-comic plot until I realised it had been done before and better, in "Sliding Doors". I also didn't care for the framing device of the intellectuals imagining the contrasting plot strands, like you do, when you're out having a drink in a pub.The beautiful dreamed-up thirty-something characters (and I may be over-using the term here) are all cardboard thin, with an unusual penchant for 30's jazz and esoteric classical music like someone 40 years older, throwing about terms like "baseless canard", like you do and falling in love with every second person they meet in their social group.The acting is dire, Will Ferrell doing a particularly bad younger Woody impersonation and Radha Mitchell in the title roles, an even worse Diane Keaton in the "comedy" version (in particular you'll cringe at her "kookiness" as she leaves her lawyer's office in a drunken state) and ditto her take on Mia Farrow in the "tragedy" version, over-emoting for all she's worth. Never for a minute does she seem as deep, vivacious and irresistible as the script would have you think.One or two lines raised a smile, but I don't think my teeth even once escaped my lips throughout. There was a line where a character complained about press intrusion which actually sounded as if it was based on reality, as I thought of Allen's own much-publicised time in the tabloid spotlight over his child-custody wrangling with Farrow, but it was just a passing moment. Otherwise, Allen would have you think this is a film about repressed love, with much discussion about the soul, but it's all false and hollow proselytising and above all else very dreary and at times embarrassing to watch.For me it was both tragic and comedic that this ho-hum script ever got filmed in the first place.

"Comic or tragic, the most important thing to do is to enjoy life while you can. Because we only go round once, and when it's over, it's over. And, perfect cardiogram or not, when you least expect it, it could end like (snaps fingers) that."The general opinion about Melinda & Melinda is pretty mixed. I fully expected this to be one of Allen's weaker movies, but I ended up enjoying the heck out of it. I don't know if my enjoyment was because of my recent infatuation with Radha Mitchell, or if the movie really was just that good. Whatever the reason, I'm convinced that this movie is sorely underrated. A group of friends sits at a table at a restaurant, and listens to two versions of a story; one comic, and the other tragic. The stories are both played out with completely different actors; save for the character of Melinda (played by Radha Mitchell), who arrives unexpectedly in the middle of a dinner party in both stories. I know that may sound a little confusing, in a movie that questions whether the essence of life is comic or tragic, it works well.Three complaints: some of the humor was hit-and-miss, the script was a little too unfocused to communicate the themes of comedy and tragedy in a way that presented a totally focused point, and Ferrell didn't have a perfect handle on the "Woody Allen role" (though I can't really think of who could have done it better).  Those are the only less- than-favorable comments that I have to make. I thought the film as a whole was a combination of a great cast and smart writing, and those are the main things I look for in anything Allen directs. This is a traditional Woody Allen movie. More Annie Hall than Match Point. Which means it's very verbose, focused on a specific type of people that you only find in New York City, and it has his trademark humor. I would hesitate to recommend this to an Allen novice, but if you know what you're getting into and you "get it", then you might enjoy Melinda & Melinda as much as I did.

Let's face it, even our favourite and most talented film directors get it wrong sometimes, and this is one of those times. This film script is one of those 'clever ideas' that people get late at night, and when they are half drunk they say: 'Wouldn't it be great if ...?' But in the cold light of the morning, this should have been abandoned as too artificial. The idea of having two alternative stories about a girl called Melinda, one comic and one tragic, is too theoretical. You might as well try and make a film out of DAS KAPITAL, which is also theoretical. Woody here is 'too clever for his own good' and it backfires. There is no use talking about the performances, as actors here are not the point. A film which is excessively contrived, as this one is, is simply an embarrassment to everyone associated with it. I must say, the evening scenes of the people talking about the two Melindas are the most contrived of all, and not at all cinematically well executed. Films are meant to be illusions, but they need to be convincing illusions, not artificial fabrications such as university undergraduates would come up with while chatting in the dorm.