A ghost appears out of the darkness in a crucial scene towards the end of Match Point, and confronts a murderer. The audience expects the ghost to point a finger and issue some kind of ominous, Hamlet-like condemnation from beyond the grave. But instead, the spirit starts to point out that the murderer must have slipped up somewhere. Mistakes must have been made. Somehow, he's going to get caught. That's when we see that this is all an internal monologue in the mind of the murderer. He is incapable of empathy; even the ghosts that visit him are denied a voice of their own. They are just spectral projections of his own fear and vanity, shining in the dark. There's no room in his mind for anyone but himself. Match Point is Woody Allen's 30 or 40th film and his most successful attempt at a straight philosophical proof since 1989's Crimes and Misdemeanors. Even adding in all the comedies, this is one that he'll be remembered for.