I may have an unpopular opinion on this, but this is quite possibly the worst film I have ever seen in my life. I'm not criticising you for enjoying this film, as humour is subjective and some people like Woody Allen's style. But for me this film is bland both comedicly, Narrativley and Visually. I feel like I need to talk about how much of a disaster this film was.Although the sped up fight scenes are a decent homage to the Chaplin Era comedy; I found the scenes overly long, Pointless and annoying. These scenes did not create humour and stuck out like a sore thumb. They seemed to incorrectly Juxtapose the other styles In this film.The humour only managed to make me laugh a few times, as a few rare jokes were quite clever. Other jokes were delivered incredibly poorly by the actors, or the jokes were terrible, so the lines had no comedic effect at all. The delivery and presentation of the humour mostly failed.The visual style is bland and boring. It's not terrible, it's just mediocre and not very inventive. It follows the boring shot, reverse shot format. However, there is one scene with an interesting style (The Cinema scene).The story is very unspecial, it's basically just your average dystopian future (with only a few interesting ideas). Also several parts of this film are completely pointless; and if they were to be removed, nothing would have changed. There is a whole ten minute section where the main character is brain washed, only for it to be reversed minutes later. Thre is also a part when the main Character climbs out a window for no reason at all, only just to go back around into the room he climed into. The main plot only begins to happen in the final act, meaning that the first tow acts were entirely pointless filler. The pacing in this film is also terrible throughout the whole film.Overall this film is a complete waste of time. It is boring and unfunny. I feel like it failed in everthing it attemted. Some people may like this, but in my opinion, don't even waste your time watching it.

The Three Acts: The initial tableaux: In 1973, clarinetist and health food store owner Miles Monroe goes to hospital for a minor operation to repair ulcer damage. In 2173, he is revived from cryogenic stasis by rebel physicians.Just as his orientation starts to succeed, the police raid the health facility; his revival was illegal.To escape, Miles disguises himself as a robotic servant. He is delivered to the house of citizen Luna Schlossel, who assigns him tasks that illustrate life in 2173.Delineation of conflicts: The State, under the direction of The Leader, seeks to have everyone fully assimilated into society. Miles kidnaps Luna to escape yet another police raid. Luna is initially loyal to the State, but when captured and threatened with mind wipe, she converts to the rebel cause.Miles is captured, but not before Luna escapes with his help. Miles is assimilated by the State. Luna finds the resistance, and becomes enamored of Enro, the resistance boss, and with his ideology. By the time Luna and Miles meet again, their positions have reversed, and he does not remember her.Erno tasks Luna with getting Miles to the rebel camp. They set about restoring Miles' memory. Erno sends Luna and Miles to stop the Aries project. The State, of course, has other ideas. Miles' jealousy threatens the rebel mission.Resolution: The showdown is about the fate of the Aries project (not sure about the spelling here; I think I auto-corrected it).

"Sleeper" is packed with visual (at times it's almost like a tribute to silent comedy) and verbal gags, but personally I don't think it is quite as funny as "Bananas", or quite as imaginative as the best sketch (the closing one) of "Everything You Always Wanted To Know About Sex (But Were Afraid To Ask)" (although the orgasmatron and the shaving-mirror scene come close), and the ending feels rushed. However, it is a very important part in Woody Allen's evolution: up to that point, his films were mostly "Woody against the world"; here, he's dancing (metaphorically, but sometimes also literally!) with a partner - and what a partner! Diane Keaton, at her sexiest and fastest, is almost like a female Woody Allen at times - that's how well-synchronized their teamwork is. Woody is so confident of Keaton's abilities that he even gives her a couple of wild comic scenes all to herself, like her Tarzan imitation, and he sometimes lets himself become the butt of her jokes ("You're dealing with one of the greatest minds you've ever encountered" - "Yeah, and his isn't so bad either!"). Apart from their heavenly pairing, the strongest asset of "Sleeper" is its wonderful jazz score. *** out of 4.

A freezer-burned Woody Allen emerges from a lengthy cryogenic slumber to apply his own specific brand of humor to the late 22nd century. At times overly topical and horribly dated, this is really at its best as a flippant physical comedy. Even then, the puns and gags are stretched awfully thin, with blatantly sped-up footage and a ragtime soundtrack giving it the look and feel of a futuristic Benny Hill. Allen's pokes and prods about the evolution of society are occasionally good for a snicker, particularly the advent of technology supplanting our need for sex, drugs and organized religion, but the central storyline is so thin and inessential that the whole mess feels like a series of vaguely-related skits. The glut of weak, DIY-esque backdrops and special effects make the arrival of Star Wars just four years later seem even more impressive by comparison. Mildly silly at best and utterly dull at worst, it's not something I'll be revisiting again soon, if ever.