Score: 3 of 6
Even if Woody Allen can hardly learn find back to the level of his many great things from the 1970s and 80s, it is of course entirely legitimate to appreciate new Woody Allen movies. The dogmatic condemnation by the a director who have seen their best days just hit back on a conservative world of european cinema, and its audience, for which nostalgifaktorn today, it seems more important than ever.
Also, the movies he throws together with the left hand has its moments, "Midnight in Paris" is a good example from a later time. At the same time, it becomes more difficult to really like a new Woody Allen. The rate of production with a film about the year commands respect (he is the 100 time he’s maybe 20), but for each film emerges his left hand all the more.
1930s-talsmelodramen "Café Society" mixes the director of Hollywood’s golden-brown patina with an almost equally romantic New York. The jewish arbetarsonen Bobby (Jesse Eisenberg) is tired of the family’s tight games room in the Bronx and decides to try his luck in Beverly Hills, where, among other things, uncle Phil (Steve Carell), the successful filmagent, holding court at the poolside. Right soon arrange morbrorn him a service in the office, to his nephew, tone down the relationship – so much nepotism in Hollywood though. Nevertheless, getting family relationships fatal. A love triangle, where Bobby unfortunate dear down in the morbrorns mistress (Kristen Stewart), get him to turn again to the hometown.
Significantly otacksammare the role of Kristen Stewart.
It is uncommon to get twistar to be Woody Allen, the more loosely sketched stage construction. So sometimes, the bet is raised, short moments, but especially in the scenes that allow the actors to remain a little longer. In Jesse Eisenberg has director found her soul mate, a ordkvick neurotiker on a ettöring can turn from the charmingly naive to the deeply cynical – always with an ulterior motive. Significantly otacksammare the role of Kristen Stewart, from the honorable secretary to the Hollywoodtrofé but still with dreams of something more genuine. She seems to bortkollrad in the rapid transitions, remain in the wings as well.
in contrast Hollywood’s volatile jetset is cut diligently to Bobbys big brother maffiavardag on New York’s streets, where människohanteringen is done completely without mercy. Execution on the assembly line, the bodies that is literally cemented in the asphalt. It’s fun for a few seconds, not in the long run.
In New York city is much as usual: the deceptively neutral voice-over, Allen’s own; the camera circulating around the film’s corrupting the company of the established and the upstarts. Hemvant tour director jewish habits and expressions, sometimes with espri, sometimes idling, always with the roughness. When the brother with his days numbered, choose to convert to christianity expresses the father despair over that judaism is a lack of faith on the efterliv – if the notion was, it would avoid losing their clientele.
It is difficult not to also see it as a parable of the Woody Allen’s declining quality, the director resigned judgment upon himself. For even if he retains his audience for the moment, it seems the latest movie efterliv quite limited.