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Release Date:
July 15, 2016

Runtime:
96 minutes
categories:

Comedy Drama Romance
- Comedy
- Drama
- Romance

Production:
- Gravier Productions
- Perdido Productions

Language:
- English

Budget:
US $30000000

Country:
- United States of America

Rating:
6.4 / 78

Movie Synopsis:
The story of a young man who arrives in Hollywood during the 1930s hoping to work in the film industry, falls in love, and finds himself swept up in the vibrant café society that defined the spirit of the age.

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REVIEWS:

Reviewer 1:
Set in the 1930s, a young Bronx native moves to Hollywood where he falls in love with the secretary of his powerful uncle, an agent to the stars. after returning to New York he is swept up in the vibrant world of high society nightclub life.

Café Society opened this year Cannes Film Festival and is the latest film directed by Woody Allen. It's a story that mixes various parts of the Allen back catalogue to varying degrees of success. A film that wants more than anything to entertain. In many ways Café Society could be said to restate almost all of the key ideas and themes of Woody Allen's films in one way or another: life, chance, fate, love and guilt.

It also comes from the movie providing the performances. Jesse Eisenberg is so seamlessly cast as the prototypical Allen protagonist that when the film shift from Allen's voice over to Bobby speaking it feels continuous. Bobby's broken heart has caused him to undergo a Bogartian growing up: from a gauche boy to a mature disillusioned man, trapped in the wrong marriage. Moreover, Kristen Stewart sad eyes, throaty delivery and slightly heartbreaking aura make her almost interesting, ad an easy chemistry between her and her third-time co-star Jesse Eisenberg and he fits perfectly into his role while she simply overflows the screen.

But if Café Society is Allen quoting Allen, sometimes literally, at least he's quoting his better bits. Surprise comes from the movie providing the honeyed cinematography by V. Storaro which uses silhouette, graphic compositions and glowing close ups in an often genuinely breathtaking manner. "Life is comedy, but it's one written by a sadistic comedy writer" says Bobby. The comedy writer Allen on display here is more wistful and nostalgic for the very concept of unfulfilled true love, for the heyday of the Hollywood star system, for a New-York of gangsters and back alley craps game and stolen kisses at dawn in Central Park. And all of that nostalgia is okay. Because we were getting pretty nostalgic for the good odd days of warm, witty, fond and funny Woody Allen too.

Make no mistake Café Society is still late-period Allen. Men are described in terms of their characters and complications, while women are still described in terms of their beauty and their effect on said men. When Blake Lively's character motherhood becomes the butt of an exchange between two men, about how women who become mothers devote way too much time to their children (and ultimately not enough to their husband); it's a sour note that reminds us that Bad Allen is always there, underneath.

Overall, this film is Woody Allen's most charming film since Midnight in Paris and maybe most beautiful to look at, maybe ever. It's a little pretty little reminder of what once was

Reviewer 2:
Woody Allen's latest, which opened yesterday in Paris and at the Cannes Festival, is a gentle and thoughtful examination of love. Jesse Eisenberg, best known for his portrayal of Mark Zuckerberg in The Social Network, plays Bobby, a young New Yorker who heads out to Hollywood in search of an exciting future. He falls for Vonnie (Kristin Stewart of Twilight fame), the secretary of his Uncle Phil (Steve Carell), a successful producer, and is soon confronted with the fact that she has a mysterious lover. The resulting confusion is worthy of Allen's mentor, Anton Chekhov. In an interview in the French magazine l'Obs, Allen remembers his own experience in Hollywood, talking to a producer who cut him off to take a call from Fred Astaire. We soon meet all of the rest of Bobby's family, including a gangster brother and a sister who is married to an intellectual, who offers such wisdom as the quotation, "Live every day like it's your last and some day you'll be right." With brilliant cinematography by Vittorio Storaro and great performances from Eisenberg, Carell and Stewart, the film is one of Allen's most enjoyable in years. The poster features a stylized profile of a woman with a teardrop - love always includes an element of sadness, even as it brings laughter and self-realization. A French review of the Cannes opening compares Allen to Ernst Lubitsch, master of urbane comedies of manners in the 1930's.

Reviewer 4:
For me, seeing a Woody Allen movie is like spending an evening with an old friend. It's something to look forward to, because you know each other well and the two of you go back a long time. You know what the conversation topics are going to be, because he has his favourite subjects and lately he seldom talks about anything else. But that's alright, because he knows a lot about those things and is an expert in making nice conversation. Some evenings you spend together are more memorable than others, but it's always nice to see each other.

Seeing Café Society was no exception. This was Woody Allen as we know him: jazz music, New York, a socially awkward lead character, jokes about being Jewish, complicated love affairs - all those typical elements were there. The story is not even the most important part of the movie - it's about a love triangle set in 1930's Hollywood and New York, and about people betraying their own ideals only because they get older. It's entertaining, intelligent and elegant cinema.

During the years, Woody Allen seems to have perfected his style. He is like a chef with a legendary signature dish: the taste hardly varies, but it's always delicious.

Jesse Eisenberg, playing the classic Woody part, and Kristen Stewart as his love interest are adequate. They don't stand out as Cate Blanchett did in Blue Jasmine, but are quite believable as two lovers who ultimately marry the wrong partner. The thirties setting is nice: the way Allen and his cinematographer capture the elegance of the period is a joy to watch.

Reviewer 5:
There is a lot going against this movie. Jesse Eisenberg's character comes off as a complete asshole within 10 minutes of the film, thanks to a really terrible scene between him and a Jewish hooker. None of the humor in that scene landed, which just made the situation really sad and uncomfortable to watch, and then kind of difficult to root for Eisenberg at all after that. Steve Carell isn't bad by any means, but he seems incredibly miscast in a role like this (not to say that he can't act in roles that are more serious, but this Hollywood film executive didn't really suit him). Both of the Dorfman parents come off as really awkward on screen and thus kill any of the jokes that they're meant to deliver. The only actor that gives a notable performance in this movie is Corey Stoll as the brother, but it's not enough. Kristin Stewart was mostly fine, but occasionally started picking up some of her infamous Kristin Stewartisms throughout. Carell and Eisenberg become really close out of nowhere, both of the couples' relationships are sped up by Woody Allen's narration (which doesn't really add anything to this film), and this movie is only 90 minutes long, so I feel as if they could have definitely spent more time with all of these relationships, instead of just having Woody tell us what was happening. And on top of all of this, while this is a beautiful film to look at, there is nothing new in this movie. It's another Woody Allen movie with the same romances and love triangles centered around white people who like jazz with a pretty inconclusive and unsatisfying ending.

Reviewer 6:
Café Society" (2016 release; 96 min.) brings the story of Bobby Dorfman (played by Jesse Eisenberg). As the movie opens, we are told it's the late 19302, and we see Phil (played by Steve Carell), Bobby's uncle and a powerful Hollywood talent agent, host a party in Beverly Hills. It's not long before Bobby arrives in Hollywood from New York, looking for a new life. Phil asks his secretary Vonnie (played by Kristen Stewart) to show Bobby around the town, and Bobby has an immediate crush on her. Vonnie, though, tells him she's already seeing a journalist, to Bobby's disappointment. At this point we're a good 10 min. into the movie but to tell you more of the plot would spoil your viewing experience, you'll have to see for yourself how it all plays out.

Couple of comment: in life, there are few certainties: taxes, death, and every year a new movie from writer-director Woody Allen. The man delivers his movies like a Swiss watch, and frankly makes them like that too. Here, Allen tackles a topic near and dear to him: a relationship rom-com, set party within Hollywood, and within the Jazz Age. From the first shots, we stand amazed at the picture-perfect camera work, I mean the movie is just eye-candy from start to finish (with much of the West Coast scenes brought in a beautiful orange glow). In this film, Jesse Eisenberg stands in for the Woody Allen character (Allen does provide the frequent voice over, though), and Eisenberg thankfully doesn't try to imitate Allen's stuttering speech that we are used to when Allen played these roles himself back in the day. Steve Carell plays, his role straight up. Kirsten Allen has the toughest role of all, for reasons I don't want to reveal. At times she is great, at times she is a bit wobbly. The two big surprises for me are: Blake Lively, fresh off her winning role in "The Shallows", and here in a very nice supporting role as another possible romantic interest. And the other one is an even smaller role, by Sarri Lennick as Evelyn, Bobby's sister. But truth be told, this movie brings an all-star ensemble performance. With a soundtrack full of jazz music from the 20s and 30s, you know that Allen is in his wheelhouse here. There are at least 4 or 5 Benny Goodman performances, and that's just the beginning. Bottom line: after the head-scratcher that was last year's "Irrational Man" and the so-so "Magic In the Moonlight", Woody Allen has rediscovered his winning ways.

"Café Society" opened at my local art-house theater here in Cincinnati this weekend, and I couldn't wait to see it. The Friday early evening screening where I saw this at was very well attended (as it should be on the opening night of a new Woody Allen flick). Assuming that Woody Allen continues his streak of writing/directing a new movie every year, we will see his 50th movie in 2019. What a momentous occasion that will be. Meanwhile, please enjoy "Café Society", be it in the theater, on VOD or eventually on DVD/Blu-ray. "Café Society" is HIGHLY RECOMMENDED!

Reviewer 7:
I myself am a sucker for a movie that gives a take on old school Hollywood and Woody Allen did a beautiful job with Cafe Society.

The cinematography on this one did a great job of capturing the feel of 1930s California and New York city. I can't get over how beautiful this thing was shot. A knock out combination of lights setting and music to bring out the mood.

And the jazz numbers that lace this flick did just that for setting that beautiful tone

Jesse Eisenberg started off a little too much Woody Allen at first (one particular scene in the beginning that acts like a hilarious sketch routine, where Jesse's character Bobby buys a hooker). It did get some getting use to, before it became his own thing.

Corey Stoll's character Ben, a though Jew who becomes a night club owner, whole involvement in the film taste like Scorsese light, which only made it even that more interesting.

It's a good Woody Allen comedy,but They are all good to me. If you like one you like them all (but I'm more partial to the ones he does not star in, like this one), and it's super impressive he does one of these on annual basis and he's able keep the quality constant.

It'a funny film with laugh out loud moments, and very crafty narrative narrated by Allen himself. This movie is just another love letter with the city he loves (and a thoughtful P.S you're OK too California), and makes Woody feel like such a helpless romantic, but that's what makes the movie so good to watch.

http://cinemagardens.com/?p=55

Reviewer 9:
Noteworthy intricate and layered performances by the actresses in this ensemble film. The charming Parker Posey, appeared to be the most at home in the '30s. Blake Lively was every bit as titillating as an early era Hollywood bombshell. Jeannie Berlin had arguably her best performance since her role in Margaret (2011). That being said, while Stewart wasn't present in the opening scenes, once she made her grand entrance in this film, no one, and I mean no one, could steal her thunder.

The thing that fascinated me most about Stewart's performance in Cafe Society was this was unlike nearly all of her other feature film roles which usually involve a troubled teen/young woman in some sort of rebellious role. Her and Jesse's tender romance was without question the heart of this film. Some imply that she may have been miscast for the role because the way Vonnie dressed, so dainty, the way she spoke, so courteous, the way she conducted herself, so well mannered and the way she embraced Bobby, so delicate. In other words it was an ethereal performance by Stewart. So even if she's not recognized by the Academy for her performance in this, no one can rightfully accuse her of playing "herself", as unfounded as such a remark about her acting really is.

There were several scenes where Stewart was stunning. Yet the one that was most breathtaking was the scene where Vonnie was wearing a red dress while conversing with Phil on a lunch date, contemplating whether or not he should leave his wife in order to be with Vonnie.

Her role as Vonnie required some range, requiring her to exhibit a full spectrum of emotion, as she started off as innocent and down to earth, one who shunned Hollywood glam, especially evidenced by a flashback scene of when she was first hired to be the secretary of a powerhouse Hollywood talent agent. There was her soul baring expressing of heartache during the break up scenes and compassion during the makeup scenes with Phil and of course the passionate make-out scenes with Bobby, which I would have to say are some of the best romantically intimate scenes of her career.

Later in the story, after Vonnie gets married to Phil, she becomes increasingly snobbish and highfalutin as she is seen brown-nosing with Hollywood's elite, living the life of a Hollywood wife/socialite--the life she once previously despised. Along the way Vonnie and Bobby begin to lose their innocence and idealism and became calloused as a result of the affluent, albeit shallow lives they choose to carve out for themselves.

Just moments before the screen fades to black near the ending, Phil asks Vonnie why does she have that dreamy look on her face. While Vonnie does not verbally explain why, except for replying, "Dreams are dreams," we the audience who are privy to what she meant, know she's reminiscing about the good times she spent with Bobby. There were other scenes where the feelings Vonnie had for Phil or Bobby were unspoken--yet we knew the inner dialogue that was going on in that pretty little head of hers, without her having to speak a word by means of her facial expressions, namely her eyes which convey so much. If that's not the very definition of subtle and nuanced acting, than I don't know what is. Stewart looked great even in the unforgiving extreme closeup shots and a dreamboat in the soft-focus shots, courtesy of cinematographer extraordinaire Vittoria Storaro.

My fave line of this film will have to be a line from Woody Allen's narrator voice over: "And in walked the past." I found it memorable as this was said at the outset of the scene where Stewart is shown entering Cafe Society for the first time during Act 3. Even though Bobby and Vonnie grew apart as they both ended up marrying other people, they were soul mates in the sense that not a day would past where Vonnie and Bobby wouldn't think about each other, as they would even continue to dream about each other. Oh how bittersweet an ending! Powerhouse performance by Kristen Stewart.

Reviewer 11:
In the 1930's, Bobby Dorfman (Jesse Eisenberg) doesn't want to follow his dad into the not-so-lucrative jewelry biz. Instead, he opts to go to California, where his hotshot agent uncle, Phil (Steve Carrell) may give him a job. Well, its not much of a job, a glorified gopher, but, it has fringe benefits. Ah, that would be meeting Phil's secretary, Vonnie (Kristen Stewart), who has been asked to show Bobby around town. At once, Bobby is smitten. Alas, Vonnie confesses that she has a journalist boyfriend, so, even though Mr. Dorfman and Miss V meet quite often, she establishes boundaries. Bobby is still googly-eyed. One day, however, Vonnie tells Bob that her boyfriend has ended their relationship and Bobby is eager to pursue her. Happiness ensues until Vonnie's boyfriend comes back into the picture. Its Uncle Phil, you see, and he vows to get a divorce. Heartbroken, Bobby moves back to Brooklyn, where he begins to manage a posh café for his brother Ben, a gangster on the sly. The family doesn't know what Ben does, they are just happy Bobby has a job. In time, Bobby meets another beautiful lady, Veronica (Blake Lively) who helps his heart recover. Or is it fully healed? We'll see when Phil and Vonnie, now married, come waltzing into the café! This beautiful, funny and intelligent movie is that latest gift from the one and only Woody Allen. As such, the script is a masterpiece of witty lines and great concepts and the direction flawless. Naturally, Allen also draws outstanding performances from his cast, especially Stewart who shines as the confused Vonnie. The scenery and costumes are above reproach and the look of the film wonderfully lovely. In addition, while the film is funny, it is also bittersweet, so tears may fall. Nevertheless, leave the café pronto and head out to a theater nearest you.

Reviewer 12:
The plot of the latest Allen's movie is your basic love triangle, set in the 30s and with a small twist. Eisenberg and Stewart play the two young lovers, Bobby and Vonnie, who meet in Hollywood, where Bobby moved from New York.

Bobby's uncle, Phil, is a big shot in the movie industry and Bobby is looking for a job. Vonnie is Phil's secretary and part of her job is to make Bobby feel at home. After a few months, Bobby realizes is not happy on the West Coast, but he is in love with Vonnie.

Bobby proposes to Vonnie and asks her to move to New York with him. But she has a "secret" lover, who also proposes. Bobby moves back to New York alone, to work in his gangster's brother night club. The denouement of their love story is melancholic.

I am not a fan of Stewart, but her part required some aloofness and mystery and she did a good job - whether because she is a good actress or because her range is limited to playing cold and detached I cannot say. Also, the movie offers some classic Allen's punchlines, about life, its meaning or lack thereof. The voice-over did not disturbed me a bit and, as usual, the soundtrack is fabulous. Since I start to feel Allen's nostalgia for the past, this movie fulfilled all my expectations.

If you like Allen's movies, you will probably like this one, too. It is nostalgic but not sentimental and elegant in an old-fashioned way.

Reviewer 13:
At eighty years young, Woody Allen delivers his forty-sixth (yup, you read that right) feature film with Café Society; a bourbon basked narrative feature showcasing the wonderfully vibrant jazz era of the 1930's, where the magic of the movies is very much alive; nightclubs are bustling with life, traces of the gangster underworld are closer than ever and love is a feeling as whimsical as ever in a parallel tale spanning from Hollywood to New York City.

After forty-six films, you would think, with a director and writer as aged as most of our grandparents, the dialogue and writer of such an iconic filmmaker would lose his touch, but Allen proves his newest feature is as fresh, fun and fantastic as could be. Self-aware and self-absorbed as ever, the auteur extraordinaire showcases some of his most subtle and subdued screenplay to date, focusing mostly on performance from his very young cast and indulging in the beauty of a lively era within the very social elite of Hollywood and New York City.

Like any good Allen film, the story follows a very unsure and adventurous young man by the name of Bobby Dorfman, played perfectly by the nerdy and always lovable Jesse Eisenberg. Bobby, who has chosen for a change of scenery from his native New York City life, decides to chance life on a whim, and join his highly successful and famed uncle Phil Stern (Steve Carell), a Hollywood agent and grande opportunist for a lavish life in Hollywood. Reluctant to really give his nephew a chance, Uncle Phil caves and leaves Bobby in the hands of his angelic and innocently beautiful secretary and assistant Vonnie, played elegantly by Kristen Stewart. Taken by her beauty at first site, Bobby and Vonnie begin experiencing the city of angels through the eyes of glamour and glitz, essentially discrediting the city and its inhabitants as a whole, and wishing for a life that is half Hollywood, and half urban paradise.

As the relationship between Vonnie and Bobby intensifies, despite Vonnie having a secretive relationship with another married man, the two share some of the most memorable meet-cute dates seen this year on screen.

The heart of Café Society relies heavily on the relationship and chemistry between Eisenberg and Stewart, who, luckily for audiences, have played love interests twice before in Adventureland and American Ultra. By now, while watching Café Society, one of the most frustrating elements of the film is why the two stars haven't began dating outside of the narrative of the films they star in. Eisenberg's quirk matched with the mysteriousness and nonchalant attitude of Stewart, make the two and quintessential non-Hollywood/Hollywood couple.

As life complicates itself, as all matters of the heart do, Bobby soon finds himself back in the big Apple, eventually succumbing to his big brother Ben (Corey Stoll) and managing a somewhat legitimate business in Le Tropical, a nightclub owned by Ben, among other very illegal and gangster business endeavours. Stoll, who dons a full head of hair as the fiery and ruthless gangster brother to Bobby, brings forth the charm and wit he did as Ernest Hemingway in Allen Midnight In Paris. An Allen alum, Stoll provides the film with some of its most expected comedy, yet is pitch-perfect as the tough guy older brother who knows no life other than the life of the streets.

Allen, who uses many of the same actors over in his films, Stoll twice, Eisenberg twice, Posey, Sirico and company, relies on his actors to deliver some of his most entertaining, fun and light-hearted material to date. Café Society is a fun, summerlicious filled romantic comedy with perfect instances of quirky dialogue and narrative that uses the beautiful jazz music as a mosaic of forbidden love and second chances.

While Café Society may not be the huge commercial success of other summer blockbuster films, the film is easily one of my favourite films of the year, delivering a true cinematically entrancing experience, much like Allen's Midnight In Paris.

If there is one thing I would recommend this summer season, its to make sure to watch this film by any means necessary. Café Society proves again that, like many good comedies, most are written by sadistic comedy writers, and while Allen's newest is far from sadistic, the film is an examined portrayal of an era of the golden days of cinema that brings back the golden, and leaves the rust behind. Sure, Allen can be completely self-absorbed with his films, making sure his unique cinematic voice is heard and quirkiness felt wholeheartedly, but, regardless of all that, I absolutely fell in love with this film. And while love is not rational, you fall, and lose control, which is the exact same feeling I had when leaving the cinema for this film.

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Release Date:
December 21, 2016

Runtime:
0 minutes
categories:

Action Adventure History Science Fiction
- Action
- Adventure
- History
- Science Fiction

Production:
- 20th Century Fox
- Regency Enterprises
- Ubisoft
- DMC Films

Language:
- English

Budget:
US $0

Country:
- France
- United Kingdom
- United States of America

Rating:
6.8 / 12

Movie Synopsis:
Lynch discovers he is a descendant of the secret Assassins society through unlocked genetic memories that allow him to relive the adventures of his ancestor, Aguilar, in 15th Century Spain. After gaining incredible knowledge and skills he’s poised to take on the oppressive Knights Templar in the present day.

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REVIEWS: