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The sci-fi satire SLEEPER is often hailed as the best of Woody Allen's early comedies, which relied mostly on slapstick and quick verbal asides, but still had more than their share of comic intelligence. SLEEPER tells the tale of Miles Monroe (Allen), who is accidentally cryogenically frozen following a minor operation. Released 200 years later, in 2173, Miles blunders his way through a bizarre future, featuring plenty of props and situations for Allen to mine for laughs. Eventually he meets vapid, hedonistic "poet" Luna Schlosser (Diane Keaton), with whom he eventually joins a rebel group opposed to the oppressive government. As in his earlier BANANAS and LOVE AND DEATH, Allen's character stumbles into a revolutionary plot, revealing the anti-authoritarianism that will appear again and again in his films. Loosely based on H.G. Wells' novel WHEN THE SLEEPER WAKES, the film features a strong parodic bent, particularly of the type of science fiction that was being written and filmed when it was made in 1973. Oppressive, faceless governments and the technological dominance over human life (altering even the most fundamental natural actions, such as sex) are the main tropes Allen skewers, as well as playing off the futuristic production design of films like A CLOCKWORK ORANGE and THX-1138. However, SLEEPER was still considered a strong work of science fiction, winning both the prestigious Hugo and Nebula Awards, which are given to the finest works in the genre.

The bridge between Woody Allen's early slapstick satires and his later romantic comedies and dramas, LOVE AND DEATH is also a broad parody of his numerous influences. The film tells the tale of Boris Grushenko (the filmmaker himself), a cowardly Russian who miraculously survives the Napoleonic Wars only to discover that his heroism does nothing to advance his romantic prospects with his philosophical cousin Sonia (Diane Keaton). Her convoluted reasoning dictates that the pair of them must attempt to assassinate the French dictator, a proposal Boris agrees to in the hopes that he will finally win Sonia's love through the act. The contrast between Sonia's analytical mind and Boris's lustful one provides Allen with numerous opportunities to joke about gender differences, but it is the multiple parodies of both literature and film that drive LOVE AND DEATH's comedic narrative. The most obvious target in the film is Russian literature: many jokes are built around the blend of fatalistic philosophy, historical narratives, and complex familial and character relationships that characterize novels by such authors as Fyodor Dostoevsky and Leo Tolstoy (the most obvious source for the film being his WAR AND PEACE). However, the filmmakers that have influenced Allen are also parodied; themes and even shots are taken directly from the work of Ingmar Bergman and Sergei Eisenstein. The musical score is assembled from compositions by Prokofiev, who wrote the scores for Eisenstein's later sound films, which were also heavily affected by Russian literature and history. Finally, the quick-witted, under-the-radar verbal hijinks in the film (like in other Allen films) bear the mark of the Marx Brothers, perhaps the most famous Jewish comedians aside from Allen himself. Although LOVE AND DEATH is not among the most well-known of Allen's comedies, there are few films that lay bare the influences of a master filmmaker as readily as this.

Woody Allen and Diane Keaton join forces again in this charming riff on such murder mystery classics as REAR WINDOW, DOUBLE INDEMNITY, and THE LADY FROM SHANGHAI. Allen and Keaton play Larry and Carol Lipton, a New York couple reevaluating their life together after their only son goes off to college. Carol thinks they have fallen into a boring life, but when one of their neighbors suddenly dies, Carol starts wondering if foul play was involved. Thrust further into the mystery by their friends Ted (Alan Alda) and Marcia (Anjelica Huston), the Liptons soon find themselves in the middle of murder and mayhem, with their relationship--as well as their lives--hanging in the balance. Seeing Allen and Keaton interact onscreen again, after a hiatus of several years, is a joy. The film moves at a fast pace, with Allen's trademark fabulous shots of New York landmarks. But the ending, which marvelously mimics the famous ending from Orson Welles's THE LADY FROM SHANGHAI, is a tour de force that should not be missed.