Ever since it debuted at the Cannes Film Festival, Woody Allen’s latest comedic look at relationships and cityscapes, Midnight in Paris, has been building buzz and making money. It was at Cannes that my fellow Reject Simon Gallagher saw the film and called it one of Allen’s best in years. On its opening weekend stateside, our weekly look at the box office reported that it had brought in a whopping $579,000 while only playing on six screens. I saw it in on one of those six screens opening weekend, and I was shocked to find that I was being rounded up and corralled like I was seeing a midnight showing of something huge. This was just a Woody Allen movie and I was seeing it on a Sunday afternoon, what gives? Turns out that something about this film is really resonating with people. I’m not immune to its charms either. It may be fainter praise coming from me than some, because I don’t rank Allen’s classics as highly as most, but this is one of my favorite films he’s ever done.

In its fifth week of release, Midnight in Paris is still doing so well that Sony Pictures Classics has announced that they’re going to expand it to even more screens. So far it has made $16 million domestically, and this week it will be shown on 1038 screens, which is not only the most that it has been available on yet, this is the most screens that any Woody Allen film has played on ever.  When you look back at all of the beloved films that Woody has made over his career, that’s quite an accomplishment; both for Allen and for American filmgoing audiences. I want to congratulate everyone for going out to see at least one film this summer that wasn’t about invading aliens. USA! USA! [Deadline Mont St. Michel]

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