Since moving to Las Vegas in mid-2004, my trips to the movie theater have become quite rare. So far this year, I've seen two movies in a theater. Worse still, in 2005 I only managed two theater visits for the entire year. And so, as I rely more and more on cable and DVD for moviegoing experiences, I typically don't get to see most films until long after the buzz surrounding them has died, even for those movies that I anticipate excitedly for several months prior to their release. One such film is last year's "Match Point," written and directed by Woody Allen. I've been a Woody-phile since seeing his 1990 film, "Alice." That picture, along with Martin Scorcese's "Goodfellas," served as my introduction to great cinema. Sadly, however, Allen entered a period of creative decline just a couple years after that. (Woody fans differ on this point, but in my estimation his golden age began with 1977's "Annie Hall" and ended with 1992's "Husbands and Wives.") Since 1993, Allen has made a series of mildly entertaining yet completely inconsequential movies. Gone were the philosophical themes of pictures like "Manhattan," "Stardust Memories," and "The Purple Rose of Cairo," replaced by slapstick and sight gags that were more reminiscent of his earlier movies (but not nearly as funny). Some recent conversations at work (of all places) have started me watching those golden age Allen movies again, and I've finally begun replacing my overplayed VHS copies with fresh DVD ones (starting, naturally, with my favorite Woody film, "Hannah and Her Sisters"). Finally, last night I got around to taking in "Match Point." Thank you, Woody. If this is any indication of what I'm depriving myself of, I just might have to start going to the movies more often. The thought that I could have seen this picture months ago but chose not to is driving me mad. In case you can't tell, I really liked this movie. I've always leaned heavily toward Allen's more serious films, and with this being his first drama since 1988's "Another Woman," it was right up my alley. Far more than being right up my alley, however, it is easily his best film since 1989's "Crimes and Misdemeanors," which dealt with many of the same moral themes as "Match Point." And, surprisingly, it appears his years of making trivial films weren't for naught. In his golden age, Allen dealt with serious themes in a very explicit manner. At some point during one of his movies, you could be sure that one of the characters would, quite audibly, ask the very questions Allen himself wanted the film to raise. More often than not, there would be an all out debate of those questions. In the last decade and a half, however, Allen has eschewed those themes, and with them the audible questions and debates. Apparently making these "less important" movies has allowed Allen to introduce a new touch to his skills as a writer and director: subtlety. With "Match Point," Allen once again incorporates big themes, but without resorting to explicit dialogue about them. (The closest he comes is a recurring discussion about the difference between luck and hard work.) In this sort-of "review," you may notice that I have avoided discussing anything about "Match Point's" plot. This is intentional. There are far too many wonderful discoveries to be made by going into the film cold, and I simply encourage you to give it a chance. (And for you Woody-haters who intend to avoid the movie on principle alone, don't worry. Allen does not appear in this film.) Welcome back, Woody. It's good to have you around again.