“Cloquet hated reality but realized it was still the only place to get a good steak,” Woody Allen once wrote in the 1977 short story "The Condemned" (hat tip to The New York Times), and it's as good as any an example of the raison d’etre and outlook on life of the glib, witty and yet philosophical filmmaker; bleak and yet slightly hopeful. Allen’s preoccupation with death and his own mortality is well-documented in his films and prose, and part of that obsession may have been escaping the harshness of reality. But behind all the existential dread that has troubled characters across his films, lays the question: is that all there is, this misery of life? Or could there be something more? These questions define the color of his latest picture, “Magic In The Moonlight,” an occasionally delightful, if familiar and sometimes strained comedy, taking place in the 1930s...