Metacritic-Rezensionen

Allen's latest, Cassandra's Dream, is one of his debonair ''small'' entertainments, the closest that he has come to doing a tidy, no-frills, down-and-dirty genre thriller.

Ewan McGregor’s bright-eyed Ian, following in the footsteps of characters in Allen’s “Crimes and Misdemeanors” and “Match Point,” is a study in guilt-free violence. But Colin Farrell’s Terry is something new. Terry is a decent guy with many weaknesses, and, after the crime is committed, Farrell gives him a piteous self-loathing that is very touching.

This 38th Allen film (and third in a row to be set in London) is a drama about two brothers that's so heavy in tone it seems inspired by Greek tragedy and the grimmest '40s film noir.

Like so many late-period Allens, it leaves behind the feeling that he's made this movie before, but better.

Like a tragic overture played at the wrong tempo and slightly off-key, Woody Allen's London-set Cassandra's Dream sends out more mixed signals than an inebriated telegraphist.

This is a lame psychological thriller with an obvious story trajectory. It's a wannabe film noir with no atmosphere whatsoever.

Feels like one of Allen's laziest pieces of writing and direction, leaden with heavy metaphor and characters who rarely make it beyond the archetype--marionettes in a miserablist puppet theater.

Allen is obsessed with the notion of getting away with murder, mulling over which personalities can shoulder the psychological burden of killing without remorse, while others crumble under the pressure. The problem is, you don’t feel the human sweat and strain in Cassandra’s Dream, despite game work from Farrell and McGregor.

The thrills are few and the expository dialogue tediously overwhelming in this preachy cautionary tale about getting too big for one's britches.

At this point, I guess we should just applaud Allen for his work ethic. Even at the ripe, old age of 72, he’s still making movies at the rate of one a year, come rain or come shine. The problem, of course, is that he doesn’t make good movies at the rate of one a year. In fact, by my count, he hasn’t made a good movie for almost a decade (1999’s "Sweet & Lowdown").