The semi-canceled filmmaker goes meta in Rifkin’s Festival, which feels like his final feature.
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T
he way things are going for Woody Allen, Rifkin’s Festival may be his last film. He shot it three years ago after being ushered into the Phantom Zone of semi-cancellation and has announced nothing new since. Now the film is skulking into U.S. circulation with almost no publicity budget, in a few theaters plus video-on-demand: a humiliating possible last act for the most acclaimed screenwriter alive.
I’d love to be able to report that the film is good. It isn’t. But there are little glimmers of smart ideas in it, and I’m not just talking about the inspiration that went into
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This article was originally published by Nationalreview.com. Read the original article here.