‘Wonder’ is offensive take on aging women by Woody Allen

curvy gangster’s moll on the run from her criminal husband, and this newer, younger model draws all the male attention away from Ginny. Humpty starts to pour all of his money and affection into his daughter, hoping to get her on the right track, whileMickey can’t help his attraction to her, despite his attempts to placate an increasingly hysterical Ginny.

“Wonder Wheel” is a self-consciously theatrical film, announced up front as narrator Mickey declares a penchant for melodrama and larger-than-life characters. The sets seem as if on stage, as characters enter and deliver dramatic monologues. It feels like budget Tennessee Williams mashed up with a bad Neil Simon parody. Perhaps this is the first draft of one of Mickey’s plays, and if so, he should stick to lifeguarding.

Mr. Allen and cinematographer Vittorio Storaro create a lush, colorful, surreal look for the film. The lighting choices are truly bizarre, with colored gels changing rapidly within shots, morphing from orange to blue in a matter of seconds. Ostensibly, it reflects the neon lights of Coney Island, but it’s beyond distracting while you wonder — well, what’s the point?

It’s hard not to wonder about the point of it all throughout “Wonder Wheel.” As we watch Mr. Allen worry and nitpick over the way women fret over aging, painting Ginny as pathetic, jealous, insecure and clownish. It’s dull, unoriginal and offensive. Frankly, we’ve had enough Woody Allen takes on this subject. Here’s hoping those financiers can find another filmmaker with a different, more refreshing perspective to support in the future.