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Please don't spend money on this.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

My history with Woody Allen is an interesting one. For years the rhetoric has been something like "Woody Allen's early films are great--the funny ones". Well, I wasn't introduced to Woody Allen as a "funny" filmmaker, so that has always taken me aback. My first exposure to Woody Allen was either Annie Hall or Midnight in Paris, and while both of those films have their comedic moments, I didn't think of either one as a comedy. There were human struggles and deep stories in both films and their comedy added to them, no doubt, but I just didn't think of Woody Allen films as comedies. After seeing several of Allen's earlier films, I understand the notion of him as a comedy director, however, I disagree that the tonal shift to the more dramatic serious films of his later career diminished his capabilities as a filmmaker. I am just as pleased with a largely serious film, Midnight in Paris, as I am with his 1973 installment Sleeper. Starring Allen as a health foods store owner in Greenwich Village who is cryogenically frozen and brought back 200 years into the future and forced to pass as a robot in the home of Diane Keaton in order to keep his life, Sleeper is a hilarious take on a sci-fi film and a standout in Allen's filmography. Miles Monroe (Woody Allen) owns and operates a health food store in Greenwich Village. Miles is an awkward man who used to enjoy spending his time playing the clarinet before being cryogenically frozen and brought back 200 years in the future. The year he finds himself in is 2173 and wakes up after being put to sleep for a surgery shocked to find out he is in a completely different world, a totalitarian police state. The doctors unfreezing him have broken the law in hopes that he will join the group of revolutionaries in an attempt to overthrow the government and save the conformist citizenry. Miles has awoken to a world in which no one does anything without consent from the "leader". In theory, Miles will be able to provide nothing to the government if captured since to them he doesn't exist. The only minor problem Miles faces is how to survive in a world he doesn't know when everyone around him is on the hunt for an "alien" believed to be near them.There is an early homage to a famous bit Buster Keaton achieved in the silent era that illustrates exactly what kind of comedy Sleeper is going to be. Woody Allen proves himself as a physical comedian whether it be his constant shuffling as a mode of transportation throughout the film or the gag of running to get his jetpack to work, Allen is physically acting in a brilliant way all throughout the film. Sleeper is a film in which almost every joke lands which is rare in comedy anyway, but especially so in a comedy with so many self-contained gags. Something I wasn't aware of before embarking on the Woody Allen retrospect project I'm currently enjoying is just how much he must have adored silent cinema. In many of his early films in both subtle and more overt ways, Allen includes many nods to silent cinema that are a true joy to witness. Learning about the obvious influences of one of my favorite directors is an unexpected joy of this project.

Debates triggered by postmodern culture have directed our attention towards questions of representation and relevance of "history" and stories -- i.e. The challenging proclamation of a post-histoire, the realization of the impossibility of a meta-narrative record of history; the clash between reality and sign systems, the difference between fact and fiction, the impossibility of neutral contemplation or witnessing as well as the positioning of subjective awareness within such representations etc.The future is a kind of carrot, the sort tied just in front of the cartoon donkey's nose so it goes to work, goes off to war, learns Javascript and knows which bits to laugh at in Woody Allen's Sleeper. You can imagine.

The Three Acts: The initial tableaux: In 1973, clarinetist and health food store owner Miles Monroe goes to hospital for a minor operation to repair ulcer damage. In 2173, he is revived from cryogenic stasis by rebel physicians.Just as his orientation starts to succeed, the police raid the health facility; his revival was illegal.To escape, Miles disguises himself as a robotic servant. He is delivered to the house of citizen Luna Schlossel, who assigns him tasks that illustrate life in 2173.Delineation of conflicts: The State, under the direction of The Leader, seeks to have everyone fully assimilated into society. Miles kidnaps Luna to escape yet another police raid. Luna is initially loyal to the State, but when captured and threatened with mind wipe, she converts to the rebel cause.Miles is captured, but not before Luna escapes with his help. Miles is assimilated by the State. Luna finds the resistance, and becomes enamored of Enro, the resistance boss, and with his ideology. By the time Luna and Miles meet again, their positions have reversed, and he does not remember her.Erno tasks Luna with getting Miles to the rebel camp. They set about restoring Miles' memory. Erno sends Luna and Miles to stop the Aries project. The State, of course, has other ideas. Miles' jealousy threatens the rebel mission.Resolution: The showdown is about the fate of the Aries project (not sure about the spelling here; I think I auto-corrected it).

Few Filmmakers have such a Distinct and Separate Period Style as Woody Allen. His Early Movies were Mostly Slapstick and One Liners, a sort of Classic Comedians Repertoire. In this One the Nods to the Silent Comics are Prevalent, a lot of Sleeper Plays Out Without Dialog and is Physical Mayhem. There are also Many Verbal Stabs at Society with Stinging Slaps at Pop Culture, Religion, and Politics.This, it could be Said, is Woody before He became a Self-Absorbed Manhattanite Obsessed with Interpersonal Philosophical Paradoxes. It was Allens "Funny" Period and this is Outstanding Stuff. The Film Looks Incredible, even Today, as a Vision of the Future with its Believable Futuristic Cars, Buildings, and Robots. With a Distinct Division between Early Woody and Later Woody the Beginning of the Writer/Director's Output will most likely have a Broader Appeal with its Timeless Slapstick and Goofiness. All of His Early Films are worth a Watch but this may be the Best of them all. It is a Playground for a Fertile Imagination and a Certain Immaturity that has as its Appeal the Kid in all of Us. But Woody would Mature and so would His Films. It is these Early Efforts that have that Universal Appeal that He Lost Somewhat when Things got more Serious.