We open on a restaurant with friends chatting away, Two of them are storytellers, one the roly-poly and likeable Wallace Shawn. He reveals his outlook on life and how this translates into stories, in that it should be humour that makes us what we are. His opposite argues that tragedy shapes and forms us. One of the others suggests the opening of a story, in that a girl - our Melinda of the tales - appears to a party at someone's home uninvited, and the two storytellers run with it, devising plots, fighting over the narrative, playfully and jovially mixing tragedy and comedy to pleasing incoherency.

The cast of these stories is divided into approximately equal portions, since both universes are being imagined by Allen's storytellers, two worlds devised by different minds. It's a fine ensemble of talent. The major breakthrough is Radha Mitchell, as the centrepiece for the two halves. It's quite remarkable how well she emotes both the tragically helpless romanticism and deviousness in the first storyline, and brings a lovely, innocent, lighthearted and sweet-natured sheen to the second. Her presence in the movie is more than enough to keep it together, it's a sharply observed caricature. Allen keeps everyone in the pair of stories in the dark, only gently poking links between to the two narratives, including suicidal character traits, single malt scotch and a mysterious magic lamp that grants wishes with a twist.

Interlocking stories which cross-over periodically, keep us on our toes. It's refreshing to find a filmmaker who is willing to let us bear so much of the burden. In lesser hands, it could easily have devolved into something dull. But it's fun to run after his unfettered imagination, and occasionally, we return to the storytellers to watch their invention at work. Looking at Wallace Shawn during these scenes, he captures the essence of flamboyant creation, amused by his own creativity. "He's despondent, he's desperate, he's suicidal. All the comic elements are in place." he cackles, describing the hero of his comedy.

It's very likely he is a mouthpiece for Allen himself, as is the character played by Will Ferrell in the comedy section.

By refusing to make commercially viable pictures, and sticking to his creative guns, Allen takes liberties with his material. This one plays like a pair of devils on the shoulder, and like a particularly fun game of Chinese Whispers, I don't think it really matters what it is an expression of, as long as the journey taken is memorable. Indeed, the creativity is exhilarating. This is Woody Allen's best picture of the decade.