While it appears Woody Allen's latest film, Whatever Works, is destined to be relegated to that hallowed section of any artist's canon known as "the forgettables", it seems as good a time as any to review his stellar career, which includes outputting at least one film a year since 1982, and select a handful worth remembering (excluding Annie Hall, Manhattan and Sleeper - too easy).

1. Stardust Memories, 1980

After completing Interiors the year before, Stardust Memories managed to alienate those few remaining fans who thought the former was simply Woody getting Bergman out of his system. Stardust Memories was largely viewed as a telltale sign of how the filmmaker saw his fans, principally needy and annoying, and while borrowing heavily from Fellini in style and shot composition, upon recent viewing, the film seems more alive and far funnier than the large majority of his output this century.

Visiting an upstate film festival in his honor, Sandy Bates (Allen) struggles with balancing the women in his life, as well as his new, serious picture, a sharp turn from the Marx-brothers style comedy his fans are used to (It would seem strikingly similar to Allen's real life and career).

Outside the opening sequence in the filmmaker's New York apartment, the entire film transpires in the director's mind, and viewed as such, presents us with an intimate look at the psychology of an artist in turmoil. We hear and see the things they would never dare utter outside their mind, and in doing so, we are presented with one of the richest characters in any Woody Allen film (certainly the richest character Allen has played himself).

2. Crimes and Misdemeanors, 1989

It is surprising never to hear Woody Allen mention this film as one of his personal favorites, seeing as he has revisited the subject several times throughout his career, most notably in 2005's Match Point.

Martin Landau plays Judah Rosenthal, an opthamologist who has placed himself in the awkward position of having cheated on his wife with a woman who no longer wants to remain in the shadows of his existence. When the woman threatens to confront his wife, Landau's character turns to his brother, a seedy, underworld, low-level criminal for help in removing her from the equation.

Heavily philosophical, the film's central question being: if we are not caught in our wrongdoing, can we move forward without guilt, or even remorse?

3. Broadway Danny Rose, 1984

Another from the Mia Farrow period, Broadway Danny Rose, sees Allen as a talent agent, light in the talent department, who attempts to assuage the nerves of his best client (lounge singer Lou Canova) by bringing his mistress to the evening's show without tipping off his wife and children in doing so.

However, Farrow's Tina Vitale is also seeing a local gangster, and when Allen picks her up, he is assumed to be the competition.

The film is full of the brilliant creative casting Allen and casting director Juliet Taylor have done over the years, paying attention to every person who appears on screen, creating an authenticity that bubbles. But the film belongs to Farrow, extending her range from the soft characters she had become known for, to a hard-nosed, New Jersey mob girl, biiligerent and unafraid.

4. Husbands and Wives, 1992

This film marked the end of his amazing collaboration with then spouse Mia Farrow which ran from the late-seventies. The film was another departure for Allen, and thus, was met with equal criticism, particularly for its shaky, hand-held camera.

Why do couples stay together? The film follows the break-ups, reconciliations, and romances of two New York city couples as they struggle towards what they think will bring them happiness, ultimately settling for the closest proximity thereof, or painfully acknowledging defeat and confusion moving forward in their respective lives.

Marked by stand out performances from Juliette Lewis, the late Sydney Pollack, and Allen-regular Judy Davis, the film takes the viewer into the most uncomfortable places relationships go, and leaves them there, gasping for air.

5. Sweet and Lowdown, 1999

The closest we will probably ever come to Allen's long lost love, The Jazz Baby, Sweet and Lowdown encompasses the two passions of Allen's life: jazz and the movies.

The fictional account of legendary American guitar player Emmet Ray, played by Sean Penn, whose massive narcissism hides his many inadequacies as he strums his way through life, never achieving either the stardom or personal happiness he craves.

Sweet and Lowdown continues Allen's strong writing not only for comedy, but for woman (something that remains elusive to this day), as Samantha Morton steals the film with her silent portrayal of Hattie, the woman behind the man.