The arthouse talent pool makes it different than other Marvel movies.

Woody Allen often takes flack for being stuck in the past. That early 20th-century Windsor font he’s used for the opening titles of every film he’s made since 1980 (one per year, like clockwork, apart from a double helping in 1987), coupled with the ever-present classic jazz music not only immediately identifies the films as Allen’s, but hearken back to times long past, no matter when the movie itself is set. His latest, Midnight in Paris, is no different in that respect. But when those titles are over, the film finds Allen inventively criticizing the same brand of nostalgia of which he’s so often guilty.