By Delia Paunescu

Woody Allen has certainly had a long line of work in Hollywood. Over the years he has refined his style to the point that most of his work has become stale.

And with his latest release, “Match Point,” Allen certainly does not leave anything to be desired. While the film has been hailed as a complete departure from his original style, Allen hasn’t left his characteristic line of work behind.

Unlike the rest of his body of work, this newest addition to his filmography does not take place in New York and Los Angeles -he has left it all behind for London, where this tale of lust and social climbing unfolds.

Leading the considerably young cast is Jonathan Rhys-Meyers as former tennis pro Chris Wilton. Born in to a poor family in Ireland, Chris used his talent in tennis to escape and nab a job as an instructor at a prestigious London club.

It is here that Chris meets the wealthy Tom Hewett (Matthew Goode), and his sister Chloe (Emily Mortimer). After being groomed and placed into a lucrative position at Chloe’s father’s company, the two wed but not before Chris gives into the temptation of Tom’s then fiancé, Nola Rice (played sensuously by Scarlett Johansson).

While Chris and Chloe’s marriage seems perfect, a run-in with Nola reminds Chris of the world from which he came.

The moments between the two are a parade of pouty lips and sensuous looks seeming slightly fabricated and forced, however, the two actors make it work. It also becomes difficult to understand exactly why Chris continues the relationship with Nola when it is so clear that his new upper crust life is what he’s always wanted.

Things spiral out of control when the affair begins to interfere with his new position at the company and his life with Chloe. It gets worse when Nola announces that she is pregnant and insists that Chris tell Chloe or she will.

But Allen can’t be expected to be original all the time, especially when the film takes a surprising final turn. The ghosts that Chris must face place him in a scene reminiscent of an ancient Greek tragedy and the full-lipped Myers portrays his plagued protagonist beautifully.

Despite the drawn-out parts, the ending is anything but and provides the audience with a full-circle closure to the film’s opening motif of luck as well as an altered perspective on life.

It is overall a surprisingly good film, one even more appreciated in a season dominated by such atrocities as King Kong and Hostel.