Well conceived, but poorly executed. It comes out as a far-fetched tragedy with a bunch of humorous intermissions. There is hardly anything dramatic regarding the tragic part of the story, while the comedy really does feel like a little baby brother trying to catch up. Pretentious dinner table discussions summing up the two, hardly help. Interesting set of characters is what pulled this one out of mediocrity.
Gradevolissima commedia di Allen,che dipinge a doppio binario il ritratto di una donna nevrotica e un pò romantica,figlia di un'era in cui tutto viene messo continuamente in discussione ed in cui anche l'amore da certezza diviene solo una prospettiva di punti di vista:come la vita,tragica o comica.L'ironia è sottile e amara,ma il pessimismo non è mai acido,vira sempre verso il malinconico. 3,5*
Melinda and Melinda should be seen as if a critique to the way Allen's films are structured, especially with the likes of Manhattan swinging between comedy to tragedy consistently throughout. Mitchell plays her dual-role with the care needed, but Ferrell captures the neurotic vibes typical of an Allen-like performance precisely and Ejiofor is so suave too, it is a shame Allen never used either of them after the film.
Nobody satirizes bourgeois superficiality like Woody Allen. I do not doubt that there is a whole subculture of privileged people in NYC who really are as awful and shallow as the characters in this and other Woody Allen films. I find this knowledge both funny and disturbing --comic and tragic, one might say.
Ejiofor rocks in this, as does Rahda Mitchell. The scene where where they meet has to be one of the best things Allen's filmed since the Seventies. A number of lovely, lingering monologues, throughout, with one or two missteps, but who else has the guts to do something like this?