What makes it different from others?

Perfectly adorable

The movie runs out of plot and jokes well before the end of a two-hour running time, long for a light comedy.

One of the film's great tricks is that, for a time, you think it will go down a rabbit hole of unrealistic glorification.

This movie and all the characters in it are Art and Humanities mayors idea of smart. The movie for a while seems to be a type "Catcher in the Rye" type of story in which the protagonist labels everyone as either pretentious or a hypocrite, but that in the end realizes that maybe he is the one who is pretentious and a hypocrite so he needs to change or he will drive himself mad. The protagonist was perfect for that. He thinks of literature as science and adores Freud and thinks he understands all of humanity for reading him, because apparently he did not get the memo that psychology has move on from Freud. He treats everyone as stupid, like he is the only interesting person in the world, and makes himself miserable. You would have thing that the movie would end up with him learning a lesson about acknowledging how his narcissism is making him and everyone around him miserable, but no. Despite all the meta joke about himself, his conclusion is that he is just too smart and that he thinks too much to be happy. So that's that, he is just to high of a being to be happy and there's nothing he can do about it. Everyone really is as shallow, pretentious, and hypocritical like he said they are. All of his disgusting conduct is justified because he is a genius and he gets life, unlike the happy people that are just too dumb to realize that they are suppose to be miserable. The entirety of this movie is nothing but mental masturbation, trying to disguise it self with a few self deprecating jokes. That being said there are undeniable funny moments, and when you're not rolling your eyes you will be laughing.

Nothing has changed in the 40 years since this film was made. Everyone is still against Jewish people who basically just want to be left alone, judging by the recent idiotic "rant" by the White Supremacists. Woody Allen's very autobiographical and neurotic self-portrait with his lifetime love Diane Keaton. Her character wants to be a White "Billie Holiday". Her Hollywood friends are into lines of cocaine and constant parties. The best "gag" of all is when Woody sneezes and spoils about $2000 of cocaine. Alvy Singer (Woody) makes love to several neurotic "skinny" women. He is a stand-up comedian and writer. He has appeared on TV and with Johnny Carson. It features a ton of "stars" like Paul Simon. Also future stars like Christopher Walken, Shelly Duvall, Carol Kane, and many more, all so very young. Allen carries tons of "Jewish Guilt" around with him. He eats an Easter ham dinner with Annie Hall's family and imagines himself a Rabbi. A doctor suggests that pork and shellfish might have made him sick (non-Kosher "forbidden" foods). Annie Hall (Diane Keaton) is kind of a ditzy character and can't get aroused by Woody's character unless she is high. What women find attractive about him remains a great mystery to me! It starts out slowly and builds into a comedic classic. Of course it will not appeal at all to Millennials and Blue-Eyed "Wasps". It's a acquired taste, just like The Marx Bros. and W.C. Fields comedies. Either you find it hilarious or ya' just don't "get" it at all!

Woody Allen at his best: baring his insecurities and shortcomings, muttering and mumbling his way through a string of sharp, witty statements, experimenting with film techniques, admiring the lost landscape of 1970s New York and, still, finding time for a rich, colorful portrayal of a years-long romance. Allen and Diane Keaton really make the film work, their rapport is so smooth, easy and genuine. We want to see them tough it out together, because their good times are so pure and true, but we know that fresh infatuation has a relatively short shelf life and the characters' essential differences make a longer, more serious relationship impossible. We see it all in a string of short snapshots, an expert mix of vital moments that anyone who's been through such a whirlwind will no doubt recognize. Those early, sunny memories you won't forget and the later, stormier ones you can't. Funny and poignant, with a dash of playful fourth-wall recognizance to keep us on our toes, it expertly churns all sorts of universal emotions.

The comedian Alvy Singer (Woody Allen) is trying to understand why his relationship with Annie Hall (Diane Keaton) ended a year ago. Growing up in New York, he vexed his mother with impossible questions about the emptiness of existence, but he was precocious about his innocent sexual curiosity.Annie and Alvy, in a line for The Sorrow and the Pity, overhear another man deriding the work of Federico Fellini and Marshall McLuhan; McLuhan himself steps in at Alvy's invitation to criticize the man's comprehension. That night, Annie shows no interest in sex with Alvy. Instead, they discuss his first wife (Carol Kane), whose ardor gave him no pleasure. His second marriage was to a New York writer who didn't like sports and was unable to reach orgasm.