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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