After a hospital mishap puts health-food shop owner Miles Monroe (Woody Allen) in a coma, he wakes up 200 years later to find himself in a very different and not exactly brave new world. All women are frigid, all men are impotent, and everyone lives in a police state run by a mysterious leader who hasn’t been seen in months. But why? However, this is no dystopian sci-fi thriller, but one of Woody Allen’s funniest films as his mid-1970s New York values and mores keep colliding with the new 22nd-century reality. He disguises himself as a robot butler, encounters a drastically genetically modified chicken, investigates the mysteries of the Orgasmotron and is reprogrammed to make himself believe that he is really Miss America. Meanwhile rebel activist and terrible poet Luna Schlosser (Diane Keaton) tries to keep him focused, knowing that he is uniquely valuable to the cause thanks to his lack of a normally compulsory biometric identity. (Arrow Academy)


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English How else than making fun of everything possible. Woody, characteristically, pokes fun at various political views and at the same time pays tribute to his favorite genre of non-primordial grotesque with a transcendence. Moreover, when I joyfully watch their first directed collaboration with Diane and savor their situational humor, I am enthusiastic as usual. ()


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English Woody Allen shows a great deal how much he likes grotesque. He excellently transferred it into this film and moreover gave it a great sci-fi look. The scenery here is simple, but functional, just like the excellent costumes and the play with politics and social development. Woody was incredibly playful back then, something he is missing today. ()



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English This is one of those early Woody Allen comedies that is bursting with energy and a huge supply of various catchphrases and gags. In terms of the compactness of all the film's components, it may not be his best work, but for the torrent of humor, irony, and exaggeration, I can't go below an overall impression of 90%. Woody Allen may not understand sci-fi, but that's not important at all because the backdrop of the future world for him is only a starting point for situational and verbal humor. It is one of those films where I still carry a number of scenes and phrases in my memory, and when I need to get in the right mood, I think about them. ()


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English "New York Times, 1990: The Pope's Wife Gave Birth to Twins" or Allen's satirical sci-fi parody of anything. I was especially charmed by the action scenes filmed in the style of classic slapstick, which were really excellent, and I also liked Allen's silent comedy in the part when he pretended to be a robot servant. There were plenty of downright boring spots, but what the heck, it was there. Still, I give it four pure stars. ()


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English First of all, excellent and unceasing entertainment. Allen rages like a madman, dominating every scene with his deranged expression, never letting the viewer breathe for a moment. When we're not laughing at his unconventional vision of the future, which is literally bursting with original ideas and plays with many of the social customs of the time, we're guaranteed to get some of the unforgettable lines that are spouted at us from all sides throughout the film. Besides, the amazing sci-fi touch adds a whole new dimension, with Allen's crazy concept perfectly in place, and some scenes are so brilliantly thought out and, most importantly, acted, that I might have burst out laughing if I hadn't laughed out loud at the same time. It doesn’t matter that the story isn't that cutting edge when someone with such imagination is at the helm. ()

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