Here is my Woody Allen list: (1) Zelig, (2) Manhattan, (3) Husbands and Wives, (4) Crimes and Misdemeanors, and (5) Hannah and Her Sisters. What makes the fifth pick great is that it finds a middle ground between Allen’s existential laughter and Bergman’s existential gloom. In both September and Another Woman, Woody took a train into Bergman territory at the heavy expense of the films. It’s not that he was wrong to go in that direction, it’s just that he went too far in that direction—and as we neared the terminal point, all the joy was gone, and all the flowers were dead, and the sun refused to shine. In Hannah and Her Sisters, Bergman is still there, but he is a country whose black clouds and mountains are seen from a distance. by Charles Mudede