Search: Starring Michael Rapaport

The plot is absurdly complicated and durr brain simple.

Paul may in many ways be the ultimate ‘loser’ but he feels like a ‘winner’, so this becomes not just a study of obsession but of the essence of self-delusion and its importance in many people's lives.

As a look-what-we-can-do-with-animatronics showcase, the movie has its cheesy moments.

First names are, of course, never used because they're out-menning the men in every department, including misogynist asides and police brutality - by the end of the runtime you wonder why they bothered casting women at all.

Our culture's insistence that appearances don't matter to the average woman is not only insulting, it's false.

Cliches are dropped like depth charges into the belly of the life.

Even by Allen’s standards it’s an incredibly solipsistic spin on a tale that has undercurrents of the exploitation and oppression of women, failing relationships and the pitfalls of parenthood.

The cool, detached, yet paranoid tone is impressively held, both through visual design and music, until around halfway through.

Another victim of the style over substance genre.