Woody Allen’s films — 40 in all, from 1971’s Bananas to 2011’s Midnight in Paris — compose one of the most astonishing sequences of cinematic expression in American movie history. For a filmmaker who is often accused of making the same picture over and over, Allen is remarkably adept at reinvention. Who expected Interiors after Annie Hall? Or Zelig after A Midsummer Night’s Sex Comedy? Or Match Point after Melinda and Melinda?