Woody Allen's career has been one marked by periods of incredible focus and accomplishment and unsure periods of transition, a state that might be the burden of any artist as prolific as Allen. Maybe after Crimes and Misdemeanors he should simply have kept rolling with the pessimism that would eventually yield the triumphantly bleak Husbands and Wives instead of this attractive but ultimately banal piece of forced whimsy. In a search to discover herself, Mia Farrow's sheltered socialite encounters the ghost of a dead lover, the power of invisibility, and more big-name guest stars than usual, but the result is a big shrug of a movie, particularly for those already put off by the privileged-elite-need-love-too theme. Since abandoning pure gag work with Annie Hall, Allen's attempts to incorporate elements of his old style into his more mature work have usually felt forced, and the fantastic elements of Alice exemplify this trend at their worst. Some nice cinematography by Carlo DiPalma and a generally pleasant tone do help matters considerably, however.