Like many of Woody Allen’s films, Midnight in Paris ends with a moral, this time vaguely self-deprecating, with an anti-nostalgia kick: Everyone wishes that he or she lived in another era, even people in that other era. It hurts because we know from Allen’s frames of reference that he’s often lost in pipe dreams of the past. But it’s possible there’s another kind of nostalgia at work in Midnight in Paris: not just longing for the Parisian twenties but for the days in which Allen regularly turned out freewheeling, pitch-perfect parodies like this. The movie is so good it’s takes you back to those days, which were the days, my friend.
— David Edelstein, New York Magazine (x)