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Woody Allen has created yet another fantastic film. I am in total utter awe of this man's ability to surprise even well into his 70s. How he manages to release one movie a year, and keep up this kind of quality I do not know. Hats off for this great filmmaker.

Blue Jasmine combines timeless elements from pieces like "A streetcar Named Desire", gives them an Allen twist and revamps them to the modern age. Cate Blanchett is incredible in the title role, and is a shoe-in for the Oscars come February. Her turn as the Blanche DuBois-inspired Jasmine who moves in with her sister after her life falls apart due to her husband's persecution and suicide is a sight to behold. She has no problem going from pill-popping nervous wreck to charming socialite in a split second.

The rest of the actors are also great. Alec Baldwin is in his comfort zone as Hal, and there's some wonderfully inspired casting with Andrew Dice Clay a the biggest surprise.

Furthermore I'd like to commend the plot-structure, which stylishly shows us Jasmine's past in little flashbacks throughout the movie. It leaves us wanting more, and the excess is a beautiful contrast to her present-day troubles. The cinematography is also strong.

It's a triumph from Allen, and everyone involved. Don't miss out.

"Nicholas and Alexandra" is one of the last of the grand, sweeping epics that dominated the box office in the 50's and 60's. With the new wave of young, reckless directors who took to the scene in the 70's this kind of filmmaking seemed strangely dated. Ironically enough it kind of mimics the fate of the Romanov family, holding on to ideals that can no longer protect them. The genre, which had started with aplomb with movies like "Gone With The Wind" didn't draw the numbers it used to, and after seeing this movie I can't help but think of what a shame that is.

The movie is off to a slow start, and doesn't really grab the viewer until after the introduction of Rasputin. From there on in it's pure cinematic joy to witness the fate of the Tzar and his family unravel.

The actors do a tremendous job. It's obvious that the producers wanted their actors to look as much like their characters as possible, and while this doesn't necessarily strengthen the movie by itself it clearly gives it a stronger feel of authenticity. Furthermore they perfectly embody their flawed characters. The czar, beautifully played by Michael Jayston is a warm, caring man who unfortunately is totally unfit to be a czar. He is out of touch with his people, and feebly clings to his autocratic power. Jayston manages to portray an almost absurd certainty in his divine right, and ability to rule while at the same time exposing his uncertainty and fright. Janet Suzman is equally impressive as the loving, but domineering Alexandra.

The look and feel of the movie is also fantastic. The jaw-dropping visuals of Russia perfectly accommodates the story, and the music is wonderful all the way through. The pace is slow, and it's easy to see why critics who had just witnessed the exhilarating pace of movies like "A Clockwork Orange" or "The French Connection". But this was how these kinds of movies were made, and "Nicholas and Alexandra" does not shame the genre. It's actually a beautiful end to a spectacular genre which is well worth a look for anyone with a soft spot for David Lean-like movies.

There aren't too many good magic-movies. Besides The Prestige no movie has really captured the (in lack of a better phrase) magic that a good illusion possesses. "Now You You See Me" does not help change that fact.

The premise is rather enticing. 4 magicians/hustlers are brought together by an unknown player who apparently has seen something unique in each one. One year later they're a rather successful magic act, and in their grand finale one night they apparently rob a french bank from the US. They get arrested, but for some reason the FBI lets them go despite the fact that they left a calling card, and surely had to be at least accomplices. But still it does create some fascination. How did they do this? Who are these magicians? Who is this secret character whose brought this rag tag-team together? Unfortunately the answers are less than satisfying.

In a rather sudden switch of focus, the movie from there on in mainly follows Mark Ruffalo's FBI character. It tries to build up a cat-and- mouse game. We're introduced to Morgan Freeman and Michael Caine who basically just takes up time in the movie. Which, considering the caliber of those two actors is no small feat. Freeman is supposed to be a successful magic-debunker, but his only real function in the movie is to move the plot along. Caine's character is mainly just a gruff businessman who for some reason uses most of his time jet-setting with his magic act.

The movie's biggest weakness is its utter disregard for character and plot focus. The premise is okay, but from there on in it's basically a "Let's throw ideas at the screen, and see what sticks" kind of movie. None of the characters get any kind of development. An example is the introduction of a romantic past between Eisenberg and Fisher's characters. This is actually given quite a lot of attention throughout the movie, but it's at a total standstill. Basically, the characters are cardboard-cutouts whose only function is expository speeches.

The movie tries hard to be a kind of Ocean's 11 for magic, but fails where that movie triumphs. In the former you always get a feeling that the parts of the team need each other. The heist will fall apart without it. This element is totally absent from "NYSM". The characters are given some idiotic cards which is supposed to "define"them". Harrelson's character is supposed to be some kind of mind reader, but only seems to be there for comic relief. Isla Fisher's use is also not clear. Furthermore the twists and turns in Ocean's felt somewhat believable, this is not the case in "NYSM".

That being said the movie does keep a quick tempo, and should be commended for some set pieces. The acting is rather bland, but that's mostly because of the characters. I'm sure the movie will entertain quite a few viewers. Unfortunately this movie seems to believe that it's a lot smarter than it is, and for anyone looking for satisfaction in that regard will be thoroughly disappointed. An okay popcorn movie, but riddled with so many plot holes, and disappointing pay offs that anyone looking at it with a critical eye will tear their hair out.