Arthouse Review: Cafe Society

Say what you will about Woody Allen as a human being, you cannot deny that his films are truly unique. These movies don’t just tell quirky or neurotic tales of obsession and jealousy; they make us reexamine the concept of a protagonist and antagonist. And in most of his films, both are usually the same character. He also enjoys creating ensembles of great actors who can both stand out and yet work together in their scenes so that each moment feels like a symphony of sorts. Most of his millennial work, Allen is hit or miss. But when he hits, he usually hits big like Midnight in Paris or Vicky Christina Barcelona.

So where does that leave Café Society, his most recent film? It’s not as whimsical or as witty as most of his other work, but it does something that is reminiscent of his 80s work such as Manhattan or Hannah and Her Sisters, which is to create a hopefully melancholic atmosphere.

The film stars Jesse Eiserberg as our youthful Woody Allen stand-in who has jetted off to Hollywood in the 1930s to work for his uncle (Steve Carrel), a big-wig movie agent. He falls in love with Kristen Stewart, who is having an on-again, off-again tryst with said uncle. The story takes turns long after the love triangle is resolved in which both of our young lovers change as a result of the consequences of their choice.

To be honest, the story in itself isn’t very interesting. But what is happens to be the character growth that we see as these two characters move forward. It reminds me of an Elia Kazan film called Splendor in the Grass which also explores a young love that has a lasting impression. The funniest moments involving the lovers are a two-part scene at a coat check station, which is a great set-up and follow-through. That said, the funniest moments in the film overall aren’t any of these characters, but the brother to Eisenberg’s character played by Corey Stoll, who plays a rising gangster who uses his ill-gotten means to finance his brother’s dreams.

The most disappointing aspect comes from Eisenberg’s sped-up delivery that at points made me wonder if he thought that he was in a race with the other actors in line delivery. Yet his scenes with Stewart and genuinely great, most of the credit being given to Stewart. In fact, Stewart isn’t just good in this film, but great. Her character goes through most of the changes in the film and Stewart doesn’t miss a beat. As for Allen’s direction, he certainly has the vibe found in films by George Cukor or Preston Sturges, but a dependency of the charm crafted by his actors.

The pros of the film are a great cast, especially Kristen Stewart and Corey Stoll, as well as an effective Steve Carrell and Parker Posey, as well as a great production design that feels right off a movie backlot from 80 years ago. The cons are a hyped-up Jesse Eisenberg, not to mention a lack of depth to the story that feels a bit hollow in comparison to other better films. That’s not to say that this movie is bad in comparison, but if you’re looking for something more cerebral, this is not your ride.

So the final word in regards to Café Society is it’s a RENTAL. And even then only if you enjoy Woody Allen’s work and don’t mind it being a middling effort.