Match Point

2005

Action / Drama / Romance / Sport / Thriller

121
Rotten Tomatoes Critics - Certified Fresh 77% · 216 reviews
Rotten Tomatoes Audience - Upright 81% · 250K ratings
IMDb Rating 7.6/10 10 227504 227.5K

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Plot summary

Chris, a former tennis player, looks for work as an instructor. He meets Tom Hewett, a wealthy young man whose sister Chloe fall in love with Chris. But Chris has his eye on Tom's fiancee Nola.


Uploaded by: FREEMAN
July 20, 2016 at 02:20 AM

Director

Top cast

Scarlett Johansson as Nola Rice
Matthew Goode as Tom Hewett
Brian Cox as Alec Hewett
Eddie Marsan as Office Worker
720p.BLU 1080p.BLU
896.26 MB
1280*700
English 2.0
R
23.976 fps
2 hr 4 min
Seeds 22
1.87 GB
1904*1040
English 2.0
R
23.976 fps
2 hr 4 min
Seeds 49

Movie Reviews

Reviewed by Buddy-51 8 / 10

engrossing tale of adultery and obsession

In "Match Point," Woody Allen, caught in one of his more "serious" moods, takes a simple tale about marital infidelity and turns it into something complex and fascinating. Although he leaves a trail of clues implying that this is to be another of his homages to Fyodor Dostoevsky, the film really turns out to be Allen's own version of Theodore Dreiser's "An American Tragedy" (albeit set in England, perhaps to throw us off the scent). The parallels between the two works are not perfect, of course - in fact they often seem to be intentionally inverted - but they are close enough to make us wonder if Allen did, indeed, do it all on purpose.

Jonathan Rhys-Meyers plays Chris Wilton, a down-on-his-luck social climber who marries into wealth but longs for the passion he finds with another woman. Chris is a professional tennis player who decides to leave the circuit when he realizes he hasn't the skill to compete with the real pros. Taking a job as an instructor at a posh, highly exclusive tennis club, Chris finds himself wining and dining with the rich and famous after one of his pupils, Tom Hewett, takes a liking to him and introduces Chris to his snooty but accepting family. Chris begins to date Tom's warmhearted sister, Chloe, but he is really smitten by an aspiring American actress, Nola, who just happens to be Tom's fiancé. Chris makes the mistake of marrying Chloe before Tom and Nola call off their engagement and go their separate ways. The fact that Nola is free but he is not doesn't deter Chris from pursing an affair with the woman who provides all the passion and excitement his loving but boring wife cannot. But Chris soon discovers that carrying on an affair can result in a life filled with secrecy, lies, guilt and self-loathing. And when the going gets to be just a bit too much for our hero to handle…well, there's always that "final solution" lurking in the wings, as many an earlier adulterer has discovered to his everlasting regret.

"Match Point" starts off very slowly and seems at first as if it will be just another tale of adultery and unrequited love. Yet, Allen really knows how to draw us into Chris' predicament, so that, by about halfway into the film, we feel as enmeshed in his seemingly irreconcilable dilemma as he himself is. Torn between the wealth and position he has as Chloe's husband and the love he feels for the relatively impoverished Nola, Chris is frozen into a state of paralyzing indecisiveness, his every waking moment a tormenting hell of fear and gathering dread as he keeps waiting in breathless anticipation for that other shoe to drop. It isn't until the "other woman" becomes more of a burden than his clinging wife that Chris can finally launch into action. This turnabout in the screenplay might strike many in the audience as arbitrary and implausible and there is certainly a case to be made for that. But if you can go with the flow, you will be delighted by all the little ironies Allen throws at us in the final stages of the story, which help to underline the filmmaker's thesis that, for all the efforts we make to control our lives, The Fickle Finger of Fate - or in this case a tennis ball precariously balancing on the top of a net trying to figure out which way to fall - always has the final word.

Allen has written dialogue that is incisive, intelligent and literate, and the performances he's drawn from the likes of Rhys-Meyers, Goode, Emily Mortimer, Scarlett Johannson and Penelope Wilton are superb down to the tiniest detail. Allen keeps his camera tightly focused on his characters, rarely pulling away from them much beyond a middle distance, keeping us firmly locked in the near-claustrophobic drama. Here is a movie that demands patience at the beginning but that really sneaks up on you the longer you watch it.

Guided by the hands of a master, "Match Point" is one of Allen's finest films in years.

Reviewed by nycritic 10 / 10

In the Realm of Film-Noir

Would it that this film had been made in the Forties or Fifties when film-noir was at its high point! Woody Allen, one of America's best directors pays his homage to the genre in his latest film about romantic obsession, and if his name weren't in the opening credits you wouldn't know he directed it. Taking a break from filming in the city he loves the most, deleting every trace of the well known neurotic hoots and clicks from his main and supporting British cast, and even removing the trademark reference to his own persona from Jonathan Rhys-Meyers' performance, MATCH POINT becomes a very European film that starts out deceptively as a character study with comedic tones and ever so subtle moves into the darker side of love, echoing THE POSTMAN ALWAYS RINGS TWICE and of all films, FATAL ATTRACTION.

A love quadrangle, the oldest plot device, is Allen's focus this time: Chris Wilton (Rhys-Meyers), a retired tennis player, becomes an instructor to Tom Hewett (Matthew Goode). Both find that they have similar interests, such as the love of opera and the works of Dostoyevsky. (They have another similar interest, but I'm getting there). Tom invites Chris for an evening at the opera and introduces him to his family and sister Chloe (Emily Mortimer), who falls for him and who later on signifies familial safety in all forms. Sensing an opportunity to climb the social ladder he starts seeing her just as he meets Nola Rice (Scarlett Johanssen), an aspiring American actress, whom he openly flirts with until he realizes she's Tom's girlfriend, but an outsider in the Wilton household. A clandestine affair between Chris and Nola begins tentative at first -- she advises him against it since it would ruin his chances to become a success and she is engaged to Tom -- but turns deeper. However, a turn of events transpire, taking Nola out of the picture, having Tom marry another girl and Chris marry Chloe, and start to get complicated once Chris tracks Nola down.

Like I said, would it that MATCH POINT would have been filmed 60 years ago because everything in it smolders like the plot elements of the sleekest of noir films. With a deliberate pace that begins taking a sinister shape after the second half, Allen misdirects the audience to the very core. Allen avoids any trace of romantic melodrama, though, and in showing what actually transpires between a couple ensnared in an affair -- their initial bedazzlement, their passion consummated, turning into routine and then its painful decline -- is true to life. Nola, initially seen in white much like Lana Turner in THE POSTMAN ALWAYS RINGS TWICE seems to be in total control until Allen deftly pulls the rug out of her feet and has her do a slow collapse into her own trap, dressed in darker and darker colors. Chris, at first, so lusts after her it's a question if he can choose her love over social status and this becomes the crux of MATCH POINT: whether the tennis ball falls over the net or not.

There are moments when you think that a director who once had his audience eating out of his hand has gone into autopilot or entered a point of no return. Up until recently, Woody Allen had had even his most hardcore fans put through the ringer with film after film of a disposable nature. With this film, which has a strong connection to CRIMES AND MISDEMEANORS, he shows that he never was gone. In erasing all references to his staccatto style, he wins over a new audience willing to accept his work with ease and this is at times necessary: like Hitchcock's self-effacing FRENZY, MATCH POINT is an excellent movie showcasing a director in full control of his ability to tell a visual tale. Maybe not up there with the best of his roster but pretty damn close, and that's saying quite a wallop.

Reviewed by Hitchcoc 9 / 10

American Tragedy Redux

I really liked this film for some very perverse reasons. I wanted the "bad guy" to get away with his crime. This is the story of a not quite successful tennis player who falls into the lap of wealth. He meets the wealthy son of a very rich man and proceeds to inveigle his way into their lives, including getting the daughter to fall in love with him. The kicker is a young actress with whom he falls in love. The former fiancée of the family son, he has a fling with her that leads to a pregnancy and a whole series of complications. The intrigue in the film, involve his efforts to cover up his double life and to figure a way out of his situation. This has Woody Allen's delicate touch as he allows his characters to work their ways through their respective challenges. It is gripping and satisfying.

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