Cafe Society

Eisenberg’s Allen is predictably on point in a bland revisionist autobiography augmented by woody narration of its author. Amusing characters and quasi-Shakespearian setup fray and unwind instead of tying up neatly. Perhaps Allen is a Coen father, as this feels like a subpar Serious Man meets a bored Barton Fink.

Blue Jasmine

Jasmine and her Sister marks Woody’s return to quasi-comedic female-lead character studies.  Loosely plotted, chronologically fractured character study is held aloft by characteristically brilliant Blanchett and soaring support from Hawkins.  Brits' ‘American’ are backed by bleak modern perspective.  Allen even rolls Dice on Clay for result that’s anything but crap.

Midnight in Paris

Wilson plays Woody well in Allen’s best and most accessible comedy to date. Midnight in Cairo features brilliant fantasy and an impressive array of modern stars perfectly portraying classic artists in funny but truthful ways. Allen did his research, and not just on sexual angst. Dissatisfying end elements and McAdams.

Whatever Works

Woody Allen writes a fantasy for himself and casts the person most like him to play the lead. David excels in the role and is aided by an excellent supporting cast. Allen’s film-referential jokes work better here than ever before and he succeeds in creating his most likeable assholes yet.