Philip Glass at his most minimal, repetitive, and inexplicably, magically, affecting. Apparently, Michael Nyman wrote a score for this, too, and was sore when Glass won that particular clash of the titans. Which, you have to concede, has a touch more aesthetic loftiness about it than "Ugly Noel tells someone to fuck off". It's lovely, though if we're candid, not as lovely as we were hoping. Many reviews of the film decried the music as over-insistent, which is akin to describing George Bush as a genius.
Imagine you're combing the racks of your favourite cool record store, one of those sub-High Fidelity dives with a coupla snooty geeks behind the counter and some Sun Ra covers on the wall. You're flipping through the '80s Hardcore section, looking for an ancient Millions Of Dead Cops LP, swimming in Raymond Pettibon graphics, when all of a sudden... What's this? The Finger's We Are Fuck You/Punk's Dead Let's Fuck? Who? What? Musta come from some boondock town in one of the "vowel states"—Ohio or Iowa.
We tend to damn Woody Allen's lighter comedies as 'just' comedies: if anyone else had come up with this 1993 nugget, we'd acclaim it as a pearl. Allen and Diane Keaton-telepathic together again—are paranoid that the woman next door's been bumped off; Alan Alda and Anjelica Houston stir the confusion. A wholesome whodunnit, but, chiefly, a hoot.