Fantastic!

Dreadfully Boring

If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

There is a story about two brothers. The first one is full of confidence and ambitions, the second one is a weak gambler. Both of them have some difficulties with money and the solution comes just in time. The question of moral was played really interesting in this movie. An idea of two brothers on the different sides of the attitude towards murder is just great. I am always really involved in the subject like that, enjoy watching argues on such an issue. That is why I think that this movie is certainly intellectual and interesting. However, the end is, as usually, boring and predictable. I wish I could change it to the Match Point end. It will be far more interesting - just dispose of this *Crime and Punishment* capstone of modern cinema.Woody should cross the line, show us more unpunished blood. That is what I would certainly want to watch.

Two brothers with serious financial problems get a chance to wipe the slate clean and fulfil their dreams when their wealthy uncle asks them to do him a favour.Woody Allen's light hearted take on the atrocious act of murder. Excellent Ewan McGregor's Ian gets slightly out shone by Colin Farrell's gambling alcoholic Terry here as the brothers' relationship is tested. Their girlfriends played by Hayley Atwell and Sally Hawkins are notable and the supporting cast are strong including John Benfield, Philip Davis and Tom Wilkinson to name a few.As the Greek-like tragedy morality play gradually builds the characters and meanders through Allen's basic effective plot. It's an enjoyable slow paced affair that hooks you from the first scene. Its naturalistic setting also gives it an unnerving off beat feeling echoing the likes of The Good Thief (2002) or The Linguini Incident (1991). It also has a vibe reminiscent of countless UK unconventional talky drama films of the 1980s. Yet, with no lead American actors London set Cassandra's Dream doesn't feel like a film synonymous with Allen. It's no Talented Mr Ripley (1999) but it's strength is the simplistic plot that comes full circle on an everyday back drop, its certainly worth viewing especially for McGregor's and Farrell's even-tempered performances.

Woody Allen proves his versatility once again by writing-directing a serious movie, set in London, with working-class leading characters. It's a delicate mix of slice-of-life, character drama, a small dose of black comedy ("What are you doing there, plotting an assassination?"), and even some moments of heart-stopping suspense. Most of the suspense, however, is of the cerebral kind. Allen gets the viewer thinking: "Will they go through with it?", "What would I do in their place?", and near the end, "My God, I can't believe he's even thinking of doing that, but then again, what other choices does he have left?". A fine ensemble cast, Philip Glass' haunting score, and Vilmos Zsigmond's vivid cinematography complete the package of one of Allen's most provocative and underrated films, although his staging does feel a tad "TV-ish" at times. *** out of 4.

How bad is "Cassandra's Dream"? Well, the only reason I watched the whole thing was so I could write this review.What was Woody Allen trying to make here? A rom-com murder-mystery buddy-picture caper flick? As a thriller, it doesn't thrill. As a morality play, it doesn't take a moral point of view. As a study of people and relationships, the relationships felt forced, and I didn't care much about the characters anyway. At one point, as Colin Farrell is emoting for all he's worth, I thought Aha: it's supposed to be a comedy! But it wasn't that funny. And as a travelogue--as others have noted--it didn't give the viewer any sense of London. Allen's main concession to "local colour" was to make sure his main characters had accents that were almost unintelligible to American audiences.Why do brilliant comedians insist on becoming "auteurs" anyway? What's with the need to be "serious"? Good comedy is one of the reasons for living. We shouldn't look upon it as less important than drama.Philip Glass' score was one of the only things I liked about "Cassandra's Dream," and I don't like Philip Glass.Not recommended.