I like the storyline of this show,it attract me so much

Why so much hype?

Better Late Then Never

Although I seem to have had higher expectations than I thought, the movie is super entertaining.

This is a laugh-out-loud comedy that is very well-written and well- acted.I've enjoyed several of Woody Allen's films and this is my favourite of them. Mira Sorvino is excellent, playing the biological mother of Allen's character's adopted son.

An agreeable, featherweight comedy from Woody Allen: it has some laughs, but other Woody films from the same period ("Manhattan Murder Mystery", "Bullets Over Broadway") are better. In "Mighty Aphrodite", the story is slight, and the "Greek Chorus" gimmick, although clever at times and novel for Allen, also feels arbitrary because it doesn't really fit with any of the main characters' professions; it might have worked better if Allen played a writer, an actor, or even just a theater buff. The film does get a shot in the arm about 30 minutes after its start from the introduction of Mira Sorvino, who gives a knockout-breakout performance (and is also a knockout herself, in the more traditional sense of the word!). Jack Warden also steals his few scenes as the "blind" Tiresias. *** out of 4.

Woody Allen stars in his latest picture that he also wrote and direct as Lenny, a New York sportswriter bored by his wife and attracted to a hooker that happens to be the mother-though she doesn't know it-of his adopted son in this film,Mighty Aphrodite.Together in the cast with Allen are Woody Allen,Mira Sorvino,Helena Bonham Carter,Michael Rapaport and F. Murray Abraham.Lenny is trapped in a bad marriage to high-strung art dealer Amanda, but he finds solace in his relationship with his adopted young son. Indeed, he grows so fond of the boy that he decides to track down the boy's real mother, expecting to discover a brilliant professional. Instead, he finds Linda, a ditzy prostitute and porno star who mingles casual vulgarity with disarming innocence. Despite his initial disillusionment, Lenny soon develops a fondness for Linda and decides to play matchmaker, setting her up with a handsome young boxer who is equally good-hearted and scatterbrained. While the contrast between the free-spirited Linda and the uptight Lenny provides the bulk of the laughs, hints of Allen's more literary humor are also present, particularly in the scenes involving a roaming Greek chorus commenting upon Lenny's fate.This is a surprisingly sweet and brilliant film with great performances particularly that from Mira Sorvino,who portrayed a bubble-headed hooker and porn star.It has a nice combination of smart comedy and some of wacky energy.It is a delight to watch.

Woody is a realistic idealist, because to persist making contemplative films is to assert how buoyant you actually are. His buoyancy is not to be associated with that articulated by his more hopeful characters. The average rubrics of idealism and cynicism offer fertile readings of several of his later films. How best to support such analyses? The views to be favored are those that fall back neither on some proclamation of, or biographical facts about, the creator, nor to the partialities of the interpreter. Allen's work helps us sidestep both of these moves: the biographical myth and the reading of a connotation into the content instead of interpreting what it might have to say, because he presents the alternatives of optimism and pessimism in dramatic rather than discursive ways. This enables him to be detached from positions held in the material, clear in his practice of the drama of knowledge shared by the audience but not by all of the characters. It makes the assertion that getting on with one's life is a remedy for pessimism. Thus realistic idealism: It's worthwhile to carry on.This modern playing-up of Pygmalion divulges its solemn undercurrents, with observations by the Greek chorus, which periodically bursts into song and dance, while in unison developing a plot that lends itself to farce, Woody playing a sportswriter who's initially opposed to adopting a kid despite his career-driven wife Helena Bonham Carter being unable to get pregnant for the sake of her job, yet she has her way and they adopt a boy they call Max. As Max gets older, it becomes clear he's exceedingly gifted, and Woody becomes preoccupied with learning the identity of Max's biological mother. After some tense scenes of farcical suspense, Lenny finally locates Max's mother, Linda, call girl and part-time porn actress. Lenny, never disclosing his real reason for seeking out Linda, swiftly becomes her friend and counselor, and sets about finding a nice guy for her to marry. Lenny recommends a young boxer he knows, a potato farmer from upstate, who is a good kid but not very smart.Although the increasingly colloquial Greek chorus might sound like a cumbersome adjunct to a Woody Allen comedy about contemporary Manhattan neurotics, it truly works properly. Chorus members including F. Murray Abraham, Olympia Dukakis and David Ogden Stiers make urgent notes of the choices Lenny is making, and their peculiar counterpoint helps Allen pull off some of the more clearly perfunctory plot developments. By the end of the movie, when the deus ex machina arrives from the sky in a helicopter, it feels like an stimulation rather than what it is, an expedient plot device.As Linda, then 29-year-old Mira Sorvino's voice is heavy Brooklyn lightened by helium and thus made comic, which mitigates the explicit casual vulgarity of her lexicon, making it seemingly naïve. Her Oscar win has apparently been subject to the same "come-on's" and "gimme-a-break's" as Marisa Tomei's for My Cousin Vinny, perhaps because young bimbo roles, including those of Brooklyn spitfires, are often so two-dimensional, they're all taken for granted as precisely that. But known for being remarkably dignified and eloquent, Sorvino goes way outside the hooker-with-a-heart-of-gold peripherals of the part in developing a genuinely sensitive and charming character.Through events that I won't divulge, Woody brings us to an addendum set a few years later, when Lenny and Linda meet again, and there is a bittersweet development in both of their lives, although each of them is conscious of only half of it. The movie's closing scene is calmly, pleasingly poignant, and the whole movie avoids the snags of pessimism and becomes something the Greeks could never completely handle, an impending tragedy with a hopeful ending.Feels like Woody's just treading water here, but even when it becomes unquestionably frivolous, Mighty Aphrodite remains an attractively made, swift, lighthearted dessert that transpires as pleasant mid-range Woody. He's best known for this spirit of romantic comedy, having transitioned from broad screwball to more storied and romantic films. Mighty Aphrodite, during his freshly post-Farrow period of varied sorts of works, is generally inclined at a gratifying and more or less reliable reading.