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Woody Allen plays a New York filmmaker named Val Waxman. Once a popular and
respected writer/director in the 1970s & 80s, Waxman has been reduced to
making deodorant commercials in Canada. However, a Hollywood comeback may be
in the works for him from the two people he would least expect it from: his
ex-wife, an executive named Ellie (Tea Leoni) and Hal, a studio chief (Treat
Williams) who stole Ellie away from him. The film is to be a remake of an
old film-noir that Ellie feels Val would be perfect for (Hal at first says
"no way" but is eventually gives in). Despite Val's auteurist demands such
as hiring a foreign cinematographer who doesn't speak English, a screenplay
rewrite (that he will do himself) and a lead role for his untalented but
attractive girlfriend Lori (Debra Messing), Waxman gets the job.
Just as the production is set to go, however, Val develops psychosomatic
blindness brought on by stress. Not being able to afford to lose this job,
which would spell the end of his career, Val calls on the help of his loyal
agent (real-life director Mark Rydell), his cinematographer's translator
(Barney Cheng) and eventually, Ellie, to help him direct the film.
All too obviously drawing yet again from personal experience, Allen could
have really made a witty, caustic spoof on Hollywood here. Every so often,
there is a film industry related joke that is quite funny, but overall the
opportunity is missed. Instead of Tinseltown satire, we have to suffer
through a rather unfunny and unconvincing second half dealing with Val's
blindness. With the exception of one unexpected sight gag (no pun intended),
this section only shows that Allen is far better (or at least he used to be)
at cerebral comedy than he is physical.
Much like last year's Curse Of The Jade Scorpion, the ensemble
cast here seems to be coasting through the film, rarely showing the sort of
energy or enthusiasm that accompanied Allen's earlier work. Williams,
Messing and George Hamilton, as a studio "yes man", turn in near-comatose
performances while Allen is, well, just being himself. Only Leoni and Rydell
actually attempt to give their characters a bit of life, but they too are
crushed under the blasé aura of the production.
One of these years, perhaps Woody Allen will catch us off guard and
present us with another Crimes and Misdemeanors, Manhattan or
Take the Money and Run, something that seamlessly combines the
intelligence and laughter we enjoyed on a regular basis from the Woodman.
Hollywood Ending, however, is not that sign of life we are looking
for. To quote Pink Floyd, it's just another brick in the wall.
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REVIEW: 
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