Hannah and Her Sisters (1986)

The review calls it a return to top form with a warm, multi-stranded family saga. It singles out the strong performances by the sisters and Michael Caine's surprising turn as the standout element.

The critic calls it Woody Allen’s best movie ever, structured like an episodic novel with vignettes that capture the tumult of characters’ lives. He singles out the emotional depth in relationships among the sisters, their partners, and the outsider figure of Mickey.

The critic calls it one of Woody Allen's best films ever, a highly intelligent and witty comedy with a magical script and perfect portrayals of well-rounded characters. They highlight the mature work, witty literate screenplay that deserved its Oscar, and superb supporting performances especially from Dianne Wiest.

The critic declares it the best Woody Allen yet and quite simply a great film, mellow, beautiful, rich, and brimming with love. She singles out its greater emotional complexity, understanding of others’ foibles, and the healing pull of family.

The review praises the film as nonstop exhilaration and a dramatic comedy that sets new standards, warmhearted, wise, and fiercely funny. It highlights the intense family drama about three emotionally dependent sisters and their entanglements.

The critic describes it as one of Woody Allen's finest films from his mid-1980s prime, an archetypal romantic comedy-drama about neurotic New York liberals with white-on-black title cards, Cole Porter tunes, and Woody as a hypochondriac Marx Brothers fan. They note the screenplay won a Bafta and an Oscar.

The review calls it one of Woody Allen’s great films with nary a misstep in charting the amorous affiliations of three sisters and their men. It praises the successful mixture of outright comedy, rueful meditation, and sexual complications over a two-year period.

The critic praises the film's sharp one-liners and tender exploration of family life and relationships. It is highlighted as one of Woody Allen's warmest pictures, balancing wit with a joie de vivre.

The critic calls it one of Allen's best ensemble dramas, even if he thought he was aping Chekhov at the time. It is presented in repertory with Zelig as a strong double bill of his 1980s work.

The re-released film remains an excellent, watchable comedy-drama of complicated New York relationships, though not quite matching Allen's best like Annie Hall or Manhattan. Caine's fervent, dedicated performance stands out as particularly strong and sincere with age.

Allen stands alone as one of cinema's great individualists, with this film developing his line of romantic social comedy; it is an essay on the pains and permutations of romantic love centred on the turbulent family life of three sisters and their circle.

The critic calls the film one of Woody Allen's foremost accomplishments in drama and highly recommends it for fans of intelligent adult stories. She praises its elegant construction, top-notch ensemble cast and sumptuous photography.