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Dave Kehr, Chicago Reader: Visually and structurally it's a mess, but many of the situations are genuinely clever, and there are plenty of memorable gags. Read more
Richard Brody, New Yorker: Allen joins the Catskills tummler's anything-for-a-laugh antics with a Eurocentric art-house self-awareness and a psychoanalytic obsession in baring his sexual desires and frustrations, romantic disasters, and neurotic inhibitions. Read more
Kathleen Carroll, New York Daily News: Allen (as a result of his exposure to Bergman, perhaps) has greatly matured as a filmmaking talent. Annie Hall is, by far, his most sophisticated, most emotionally complex film. Read more
Vincent Canby, New York Times: There will be discussion about what points in the film coincide with the lives of its two stars, but this, I think, is to detract from and trivialize the achievement of the film, which, at last, puts Woody in the league with the best directors we have. Read more
Richard Roeper, Richard Roeper.com: This is Woody Allen's signature film, arguably his best and certainly his most popular. Read more
Roger Ebert, Chicago Sun-Times: Watching it again, 25 years after its April 1977 premiere, I am astonished by how scene after scene has an instant familiarity. Read more
Richard Schickel, TIME Magazine: Personal as the story he is telling may be, what separates this film from Allen's own past work and most other recent comedy is its general believability. Read more
Nick Bradshaw, Time Out: While its consonance comes largely from Gordon Willis's photography and Allen's spacious sense of New York, pathos comes at best from Keaton's evaporative performance and a slightly sentimental conception. Read more