Woody’s films not starring him, typically have the leads impersonating him. Rhys Meyers plays it straight though, and the thriller/crime and punishment set-up becomes super-tight. Spot-on supporting performances; Matthew Goode and Emily Mortimer in particular, getting privileged class attitudes just right. ScarJo is brilliant too. Great sets, camera shots, locations, and music. Only false note: Brian Cox’s hair dye.
Dial W for Wooden? In the totality, not what I was expecting. I think I would have enjoyed it more if I'd expected the references to the great H before starting to watch smug wooden tennis coach's mixed doubles: smug Old Money and his lively & unsuitable possible future sister-in-law. No comedy, no satire, no sparkling dialogue. Too long. Not enough "Dial"/thriller. The film hits the net-chord, and falls short.
Not a great film. A late Hitchcock feel to it and as far removed from the London that I know as that director's 'Frenzy'. Who are these people? And why are the performances (with the exception of S.J.) so affected? The overall effect is not uninteresting but it is all a bit bizarre. I was put in mind of Stendhal's 'The Red and the Black' as much as the clear derivation from Dostoevsky.
I enjoyed bits of it, but overall. Jesus, it was bad. The dialogue between the policemen was especially clunky. Who talks like that? I think certain directors with a back catalogue churn out any old tosh and the viewers do their work for them. As with the previous film, referencing or basing your film upon a piece of Art, is a brave thing to do. Especially when you've pencilled shit. I prefer to read the Mubi reviews
Das haben wir schon wiederholt gesehen, in unterschiedlichen Zusammensetzungen und unterschiedlichen Milieus. Diesmal müssen die Oper, die Upperclass und London als Kulisse herhalten. Ein sehr schwacher Woody Ellen, der noch dazu in Überlänge daherkommt. Langeweile breitet sich aus und das Ende ist mehr als konstruiert. Das Glück wird überstrapaziert, bei sehr mäßigen schauspielerischen Leistungen.
call me 'philistine' but this is not satire, its merely Woody Allen's cliche-bourgeois-cultivated-wanker 'artistic method' with reference to Dostoyevsky? i like his old films but im growning tired of philosophy, politics, culture, education, criticism, pretentiousness, ethics, social justice, self important and self centered opinions on every bullshit matter made by middle-class turtleneck jumper wearing doctorates.
Woody Allen is in serious mode here, giving us a movie that brings up questions about luck over talent, taking opportunities and the moral quagmire of the flawed human mind. A solid cast do well, there are some great moments, but this isn't up there with the better Allen movies.
One of Allen's darker and sharper in terms of its critical bite indictments on the haute bourgeoisie, its indifference and naive mind-set about values and norms. Coupled to the amorality of those who aim to climb quickly in the stratification ladder, the film scores many points in its Dostoevskyan resentment of luxury, is finely acted and provides a great theological subtext about hell as eternal guilt.
It draws an insightful picture of differences between social classes and touches upon problems caused if those collide. The soundtrack underlines the scenes perfectly which are shot rather boringly. An exception to that is the allegory of luck illustrated in the beginning and a later scene. The actors are great but are trapped by the cliche story and staged dialogue. I felt exhausted half way through. It‘s decent.