.
Box office The film premiered at the
Cannes Film Festival on May 11, 2011, when it opened the festival as first screening for both professionals and the public; it was released nationwide in France that same day, Wednesday being the traditional day of change in French cinemas. It went on
limited release in six theaters in the United States on May 20 and took $599,003 in the first weekend, spreading to 944 cinemas three weeks later, when it went on wide release.
Midnight in Paris achieved the highest gross of any of Allen's films in North America, before adjusting for inflation. The film earned $56.3 million in North America, overtaking his previous best,
Hannah and Her Sisters, at $40 million. As of 2016,
Midnight in Paris was the highest-grossing film directed by Allen, with $151 million worldwide on a $17 million budget. The film has received Allen's best reviews and score on the site since 1994's
Bullets Over Broadway. On
Metacritic, the film has a score of 81 out of 100, based on 40 reviews, indicating "universal acclaim". The film received some generally positive reviews after its premiere at the
64th Cannes Film Festival.
Todd McCarthy from
The Hollywood Reporter praised
Darius Khondji's cinematography and claimed the film "has the concision and snappy pace of Allen's best work".
A. O. Scott of
The New York Times commented on Owen Wilson's success at playing the Woody Allen persona. He states that the film is marvelously romantic and credibly blends "whimsy and wisdom". He praised Khondji's cinematography, the supporting cast and remarked that it is a memorable film and that "Mr. Allen has often said that he does not want or expect his own work to survive, but as modest and lighthearted as
Midnight in Paris is, it suggests otherwise: Not an ambition toward immortality so much as a willingness to leave something behind—a bit of memorabilia, or art, if you like that word better—that catches the attention and solicits the admiration of lonely wanderers in some future time."
Roger Ebert gave the film stars out of 4. He ended his review thus: This is Woody Allen's 41st film. He writes his films himself and directs them with wit and grace. I consider him a treasure of the cinema. Some people take him for granted, although
Midnight in Paris reportedly charmed even the jaded veterans of the Cannes press screenings. There is nothing to dislike about it. Either you connect with it or not. I'm wearying of movies that are for "everybody" – which means, nobody in particular.
Midnight in Paris is for me, in particular, and that's just fine with
moi.
Richard Roeper, an American film critic, gave
Midnight in Paris an "A"; referring to it as a "wonderful film" and "one of the best romantic comedies in recent years". He commented that the actors are uniformly brilliant and praised the film's use of witty one-liners. In
The Huffington Post,
Rob Kirkpatrick said the film represented a return to form for the director ("it's as if Woody has rediscovered Woody") and called
Midnight in Paris "a surprising film that casts a spell over us and reminds us of the magical properties of cinema, and especially of Woody Allen's cinema."
Midnight in Paris has been compared to Allen's
The Purple Rose of Cairo (1985), in that the functioning of the
magical realism therein is never explained.
David Edelstein,
New York, commended that approach, stating that it eliminates "the sci-fi wheels and pulleys that tend to suck up so much screen time in time-travel movies." He goes on to applaud the film stating that, "this supernatural comedy isn't just Allen's best film in more than a decade; it's the only one that manages to rise above its tidy parable structure and be easy, graceful, and glancingly funny, as if buoyed by its befuddled hero's enchantment." Peter Johnson of PopCitizen felt that the film's nature as a "period piece" was far superior to its comedic components, which he referred to as lacking. "While the period settings of
Midnight in Paris are almost worth seeing the film ... it hardly qualifies as a moral compass to those lost in a nostalgic revelry," he asserts. Joe Morgenstern of
The Wall Street Journal acknowledged the cast and the look of the film and, despite some familiarities with the film's conflict, praised Allen's work on the film. He wrote, "For the filmmaker who brought these intertwined universes into being, the film represents new energy in a remarkable career."
Peter Bradshaw of
The Guardian, giving the film 3 out of 5 stars, described it as "an amiable
amuse-bouche" and "sporadically entertaining, light, shallow, self-plagiarising." He goes on to add that it's "a romantic fantasy adventure to be compared with the vastly superior ideas of his comparative youth, such as the 1985 movie
The Purple Rose of Cairo." In October 2013, the film was voted by the
Guardian readers as the ninth best film directed by Woody Allen. More scathing is
Richard Corliss of
Time, who describes the film as "pure Woody Allen. Which is not to say great or even good Woody, but a distillation of the filmmaker's passions and crotchets, and of his tendency to pass draconian judgment on characters the audience is not supposed to like. ... his
Midnight strikes not sublime chimes but the clangor of snap judgments and frayed fantasy."
Quentin Tarantino named
Midnight in Paris as his favorite film of 2011. The film was well received in France. The website Allocine (Hello Cinema) gave it 4.2 out of 5 stars based on a sample of twenty reviews. In 2021, members of
Writers Guild of America West (WGAW) and
Writers Guild of America, East (WGAE) voted its screenplay 83rd in WGA’s 101 Greatest Screenplays of the 21st Century (so far). In 2025, it was one of the films voted for the "Readers' Choice" edition of
The New York Times list of "The 100 Best Movies of the 21st Century," finishing at number 189.
Faulkner estate The
William Faulkner estate later filed a lawsuit against
Sony Pictures Classics for the film's bit of dialogue, "The past is not dead. Actually, it's not even past," a paraphrasing of an often-quoted line from Faulkner's 1950 book
Requiem for a Nun ("The past is never dead. It's not even past."), claiming that the paraphrasing was an unlicensed use of the estate. Faulkner is directly credited in the dialogue when Gil claims to have met the writer at a dinner party (though Faulkner is never physically portrayed in the film). Julie Ahrens of the Fair Use Project at the
Stanford University's Center for Internet and Society was quoted as saying in response to the charge, "The idea that one person can control the use of those particular words seems ridiculous to me. Any kind of literary allusion is ordinarily celebrated. This seems to squarely fall in that tradition." Sony's response stated that they consider the action "a frivolous lawsuit". In July 2013, a federal judge in Mississippi dismissed the lawsuit on fair use grounds.
Accolades Home media The
soundtrack was released on December 9, 2011, and released on
Blu-ray and DVD on December 20, 2011. ==References==